2016 Biennial Conference | Florence

We would like to thank the 400 delegates, the speakers and presenters, our partners and our dear host and co-organiser Palazzo Spinelli for their dedicated contributions and for a phenomenal week in Florence.

Furthermore, we are proud to announce that the next ELIA Biennial Conference will take place 21-24 November 2018 in Rotterdam, the Netherlands. The 15th edition will be hosted by Codarts and Willem de Kooning Academy.

Take a look at a photo highlights below. Stay tuned, as we will shortly publish the videos and presentations!Questions? Please contact ELIA Conference Manager Janja Ferenc at janja.ferenc[at]elia-artschools.org

Registration

Registration is now closed.

Regular ELIA Members Feeregistered on or from 1 July 2016 onwards
final registration deadline 15 November 2016

EUR 120

Doctoral Students Feefor Doctoral Students of ELIA Member Institutions only

EUR 2000

Non-Member Fee

EUR 100

Accompanying Person/Spouse Fee

EUR 20

Closing Party

EUR 40

Blind Date Dinner

The registration fee includes all conference materials and access to all conference sessions and related events. Please notice: the Accompanying Person/Spouse Fee is meant for spouses or accompanying persons joining the social and cultural events only. The Closing Party and the Blind Date Dinner require an additional fee.

Sessions

Click on the title for more details on the session and its presenters.

Plenary Sessions
The plenary sessions feature keynote speakers offering thought-provoking presentations to further promote dialogue based on the theme TURN MIRRORS INTO WINDOWS. A series of questions will be raised to give jumping off points for discussion, focused on the influences, challenges and opportunities presented by current European and worldwide developments.
Furthermore, two plenary sessions are organised on Friday, focuses on respectively the expert field of artistic research and cultural entrepreneurship: ‘Positions on the Doctorate in the Arts’ and ‘Making a Living from the Arts.’

Thematic Sessions
Presenters who are selected from the Call for Presentations for ELIA Member Institutions showcase research papers, case studies and innovative projects. Delegates can choose one of the parallel organised thematic sessions, each addressing a different area of interest.

Table Talks
Table Talks are designed to discuss the input and questions raised during the plenary sessions with colleagues from across the globe. Delegates will be assigned to small, alternating discussion groups to facilitate dialogue and to encourage networking.

Pecha Kucha
Lunch on Thursday is accompanied by presentations in the Japanese format of Pecha Kucha: 20 slides shown for 20 seconds each- equal to a total presentation of six minutes and 40 seconds. The presenters are selected from the Call for Presentations for ELIA Member Institutions. Delegates can choose between 3 parallel break-out sessions to attend.

Mobile Sessions
The urban fabric of Florence has hardly changed since the Renaissance, with world-class artefacts and art venues in each of its narrow streets. The arts and their creators have always been a cornerstone of Florentine economic and cultural life and still are today, showcasing both the city’s rich heritage and the contemporary arts. To engage with Florence in a broader sense the Mobile Sessions have been designed to give conference participants the rare opportunity to explore behind closed doors and meet local professors, practitioners and producers. Through dialogue with these experts, delegates will explore the complex relationship between Florence, its art history and its art future. Delegates are invited to choose which of these sessions they wish to be part of.

Open Space
Open Space is the non-curated platform that offers ELIA Members and Partners the opportunity to showcase and share their own practices with delegates, for example, a workshop, as a kick-off meeting for the starting of new initiatives or to accommodate networking, sharing experiences and discussion in their field of expertise. Several parallel sessions will be organised. Delegates attending Open Space can register for the whole conference upon arrival in the venue.

General Assembly
The ELIA General Assembly will be held on Saturday in the morning. While the ELIA Biennial Conference will be open to all conference participants, the General Assembly is a forum that is restricted to ELIA members only. The agenda and relevant papers will be distributed separately.

Theme

This year's conference theme is TURN MIRRORS INTO WINDOWS. Europe has transformed almost beyond recognition over the past years. Thanks to technological evolution, globalisation and open border policies, we find ourselves working and living in close connection to the rest of the world. At the same time Europe's self-conception as a place of tolerance, inclusion and prosperity is increasingly challenged by complex issues such as large migration processes, an ageing population, emerging radicalism and shifting economic powers.

What do we see when we look at ourselves, our institutions, and the world? To what extent do we adapt, make use of or even contribute to the challenges and opportunities presented? And how shall we move forward?

TURN MIRRORS INTO WINDOWS provides a platform for ELIA members to discuss these questions and consider the role artists, arts educators and arts education institutions have in the creation of tomorrow's society. Florence, with its turbulent political and artistic history, a beacon of European cultural heritage, is the ideal city to have this conversation.

Strands

The conference theme TURN MIRRORS INTO WINDOWS will be discussed in detail through various thematic strands, each addressing a specific issue:

Preparing the Artists of Tomorrow

Preparing the Artists of Tomorrow showcases different approaches to meet the opportunities and challenges that young artists and creative professionals encounter in today’s society and while facing the industry, during their education as well as after graduation.

Crossing Borders

Crossing Borders reflects on change versus the status quo in today’s society, prompted by actors such as globalisation, diversity and gender, and how the arts and higher arts education play part in this.

Artistic Research

This session addresses current developments in artistic research, with a distinct focus on the 3rd cycle. It discusses a joint ELIA/EUA position paper and showcases challenging practice examples.

Making a Living from the Arts

Through the project NXT - Making a Living from the Arts, ELIA looks into what higher arts education institutions are doing to support the career development of emerging artists. How can young artists make a living from their artistic practice? How are higher arts education institutions evolving? What is the role of the arts in the societal context? The role of the creative industries and the activities developed by creative hubs all over Europe and beyond are taken into consideration.

Quality Assurance and Enhancement

Quality Assurance and Enhancement discusses the quality management process of higher arts education institutions and programmes across Europe and beyond, investigates how higher arts education institutions and programmes could be supported in quality assurance and accreditation processes and addresses current influential developments.

Community/Activation

Community/Activation discusses the arts and higher arts education as a catalyst for social, cultural, political or rural transformation and its impact on communities.

Transformations in Learning and Teaching

Transformations in Learning and Teaching showcases new approaches in didactic strategies and practice in higher arts education.

Analogue/Digital

Analogue/Digital goes into the relation between online and offline creation, conservation and learning processes.

The Role of the Arts Schools​

The Role of the Art Schools presents papers and best practices on strategies of higher arts education institutions.

Speakers

Confirmed keynote speakers thus far are multiple award winning social designer and artist Daan Roosegaarde and Director of the UNESCO Office in Doha Anna Paolini, who has over 25 years of experience in advocating culture in areas of conflict. More speakers and information will be published shortly.

Presenters

We are proud to announce that we have over 80 presenters from 19 countries contributing to the programme!

The presenters represent ELIA Member Institutions and are selected by an independent jury of experts as well as the members of the 14th ELIA Biennial Steering Group, based on proposals submitted in response to the Call for Presentations.

You can learn more on the presenter(s) and their presentations by clicking on "details" when you browse through the programme and/or sessions & events online.

Practical Information

Florence is easy to reach thanks to its own airport and in addition good connections with public transportation or shuttles from Pisa, Bologna and Rome, which all stop at the main train station Santa Maria Novella, only 5 minutes walk from the main conference venue and located in the historic heart of the city.

If you haven't visited Florence before, it might be useful to know that the city is easy to navigate and almost every destination is within half an hour walk or less. Getting around by foot is recommended, as it is often quicker and more convenient than other modes of transportation. Moreover, it is by far the best way to discover the many artefacts Florence has to offer while on your way.

As Florence is a very popular destination, we recommend booking accommodation as early as possible. ELIA has arranged two hotel portals for special rates for a wide range of hotels, catering to all tastes and budgets, within walking distance of the conference venues.

Host

PALAZZO SPINELLI PER L’ARTE E IL RESTAURO

was founded in 1998 as a non-profit association linked to Palazzo Spinelli Institute for Art and Restoration (founded 1978). The association consolidated and extended Palazzo Spinelli’s aim of safeguarding world cultural heritage by promoting, organising and managing initiatives and courses for the study, conservation, restoration, promotion and fruition of cultural and artistic heritage. Palazzo Spinelli now offers accredited courses in restoration, conservation and management of cultural heritage, carries out research and surveys, campaigns for archaeological excavation, documentation and cataloguing, develops integrated plans for cultural tourism, organises conferences and seminars and provides training activities and consulting.
Palazzo Spinelli’s mission is to contribute to education and the conscious use of the artistic and cultural heritage of humanity by developing models of governance aimed at increasing a sense of belonging, interest, respect and awareness of one’s own and others’ cultures. Our students enjoy the hands-on learning environment and working on restoration and cultural development projects in some of the world’s most important and culturally defining places. The campus in Florence’s antiques quarter provides endless opportunities to see the way our art history has been shaped and to take it forward for the next generation.

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Wednesday 30 November

Click on the title to learn more about the session and its presenters.

OPTIONAL:
HIGHER ARTS EDUCATION INSTITUTIONS VISITS
10.00-12.00
Venue: Various
Meeting Point: TBC
For the early arrivals we have organised a few tours, hosted by higher arts education institutions who will take you on a journey through their work and the unique historic venues where they are situated.Palazzo Spinelli, Le Arti Orafe Jewellery School, SACI Florence, Lorenzo de’ Medici - The Italian International Institute, Palazzo Coppini- International Meeting and Study Centre, Conservatorio Cherubini

OPEN SPACE
14.00-18.00
Venue: IED
OPEN SPACE is the non-curated platform that offers ELIA partners and member institutions the opportunity to showcase and share their own practices with delegates, being it for example a workshop, as a kick-off meeting for the starting of new initiatives or to accommodate networking, sharing experiences and discussion in their field of expertise.Delegates attending OPEN SPACE can register for the whole conference upon arrival in the venue.Workshops, Expert Meetings and Network Events by ELIA Members and Partners.

BLIND DATE DINNER20.00
Venue: TBC
If you wish to start networking straight away, join the optional Blind Date Dinner. During this dinner the organisers facilitate matchmaking; placing participants in intimate groups across several tables at the restaurant, where authentic Florentine dishes will be served. Places are limited and should be re-reserved during online registration.

Thursday 01 December

Click on the title to learn more about the session and its presenters. ​

GRAND OPENING
09.00-10.15Venue: Palazzo dei Congressi, Villa Vittoria
The 14th edition of the ELIA Biennial Conference will be opened with a Vivaldi chello duet, taking a piece of Italy its rich artistic heritage, performed by one of its most renowned contemporary musicians Vittorio Ceccanti. Delegates will be further welcomed by ELIA, Palazzo Spinelli and representatives of the city of Florence, followed by a keynote talk of Cristina Acidini: art historian and President of l’Accademia delle Arti del Disegno of Florence- the oldest academy of fine arts in the world.Performance by Vittorio Ceccanti, Welcome by ELIA, Palazzo Spinelli and the City of Florence, Keynote by Cristina Acidini

COFFEE BREAK
10.15-11.00

PLENARY
KEYNOTE: DAAN ROOSEGAARDE
11.00-12.00
Venue: Palazzo dei Congressi, Villa Vittoria
Keynote by Daan Roosegaarde, who creates innovative, technology based social designs that explore the relation between people, technology and space. He is the creative director of the social design lab Studio Roosegaarde and winner of the Dutch Design Award, Charlotte Kohler Prijs, Design for Asia Award and China's Most Successful Design Award.

TABLE TALKS
12.00-13.00
Venue: Palazzo dei Congressi, Villa Vittoria
TABLE TALKS give the opportunity to discuss the input and questions raised during the plenary sessions with colleagues from across the globe. Each round of TABLE TALKS the composition of delegates at the tables switches; to change the mode of dialogue and encourage making new contacts.

LUNCH WITH PECHA KUCHA13.00-15.00Venue: Palazzo dei Congressi, Villa Vittoria
LUNCH will be accompanied by presentations in the Japanese format of PECHA KUCHA: 20 slides shown for 20 seconds each. Delegates can choose between five parallel sessions to attend, each adressing a different topic frameworked by the conference theme.Community/Activation, Crossing Borders, Preparing the Artists of Tomorrow, The Role of the Art Schools, Analog/Digital

CIVIC RECEPTION
19.00
Venue: Palazzo Vecchio
Delegates are invited to attend the Civic Reception. The City Council of Florence welcomes you in the Salone dei Cinquecento of Palazzo Vecchio, followed by dinner.

Friday 02 December

Click on the title to learn more about the session and its presenters.

REGISTRATION 08.30Venue: Palazzo dei Congressi, Villa Vittoria
Late arrivals can still register on Friday and collect the conference badge, printed programme and other materials upon arrival at the venue.

PLENARY
KEYNOTE: ANNA PAOLINI
09.30-10.30
Venue: Palazzo dei Congressi, Villa Vittoria
Anna Paolini is the Director of the UNESCO Office in Doha and has over 25 years of experience in managing and advocating culture in areas of conflict.

TABLE TALKS
10.30-12.00
Venue: Palazzo dei Congressi, Villa Vittoria
TABLE TALKS give the opportunity to discuss the input and questions raised during the plenary sessions with colleagues across the globe, in small groups and in an informal way. Each round of TABLE TALKS the composition of delegates at the tables switches; to change the mode of dialogue and encourage making new contacts.

THEMATIC SESSIONS:
BREAK OUT 2
16.00-17.00
Venue: Palazzo dei Congressi, Villa Vittoria
Selected presenters from ELIA member institutions showcase research papers, case studies and innovative projects. Choose one out of the four sessions that address the specific theme or topic of your interest.Artistic Research, Preparing the Artists of Tomorrow, Crossing Borders, Transformations in Learning and Teaching

OFFICIAL CLOSING17.00-18.15Venue: Palazzo dei Congressi, Villa Vittoria
The closing of the 14th ELIA Biennial will reflect on the past, present and future with the announcement of the host of the next ELIA Biennial Conference in 2018 and a keynote by ELIA Executive Director Carla Delfos. Keynote ELIA Executive Director Carla Delfos, Announcement Host ELIA Biennial Conference 2018

CLOSING PARTY
21.30
Venue: TBC
One of Florence its premier and chicest venues will set the scene for the closing party, where we all have the opportunity to meet, dance and relax before returning home.

Saturday 03 December

Click on the title to learn more about the session and its presenters. ​

REGISTRATION GENERAL ASSEMBLY
08.30-09.30
Venue: Auditorium al Duomo

GENERAL ASSEMBLY
09.30-13.00
Venue: Auditorium al Duomo
The General Assembly is a forum that is restricted to ELIA voting members only. The agenda and relevant papers will be distributed separately.

OPTIONAL: CITY TOURS
AFTERNOON
Venue: Various
Meeting Point: TBC
If your stay extends beyond Friday, you could visit one or more of the city its finest cultural and historic venues. In Florence most sightseeing events should be booked in advance. A selection of tours will be available for booking during online registration.Please notice this is an additonal service offered: it involves seperate charges and it is not an official part of the programme.

Plenary Sessions

Grand Opening
Thursday 01 December
Venue: Palazzo dei Congressi, Villa Vittoria
09.15-10.15
The 14th edition of the ELIA Biennial Conference will be heralded by a performance by one of Italy its most renowned contemporary musicians Vittorio Ceccanti, followed by a welcome by ELIA, Palazzo Spinelli and representatives of the city of Florence.Details

Landscapes of the Future
Daan Roosegaarde
Thursday 01 December
Venue: Palazzo dei Congressi, Villa Vittoria
11.00-12.00
Keynote by Daan Roosegaarde, who creates innovative, technology based social designs that explore the relation between people, technology and space. He is the creative director of the social design lab Studio Roosegaarde and winner of the Dutch Design Award, Charlotte Kohler Prijs, Design for Asia Award and China's Most Successful Design Award.Details

Keynote: Cristina Acidini
Friday 02 December
Venue: Palazzo dei Congressi, Villa Vittoria
09.15-09.45
Art historian and President of l’Accademia delle Arti del Disegno of Florence- the oldest academy of fine arts in the world Cristina Acidini will address the history of Florence and how it connects to the global developments we witness today. Details

The Constructed Space
David Greig
Friday 02 December
Venue: Palazzo dei Congressi, Villa Vittoria
09.45-10.15
Playwright and theatre director David Greig will explore the way theatre making in general and artistic direction inparticular can construct a civic space in which we as citizens can encounter each other outside binary discourse, with reference to his experience making the play The Suppliant Women. He will also assert that without such the constructed space of art, democracy can become dangerous. Details

Positions on the Doctorate in the Arts
Friday 02 December
Venue: Palazzo dei Congressi, Villa Vittoria
11.15-12.15
This session addresses current developments in artistic research, with a distinct focus on the 3rd cycle. It discusses the position paper "The Florence Principles" and showcases challenging practice examples.Andrea Braidt, Academy of Fine Arts Vienna, Austria; Paula Crabtree, Stockholm University of the Arts, Sweden; Thomas D. Meier, ELIA President, Zurich University of the Arts - ZHdK, Switzerland; Giaco Schiesser, Zurich University of the Arts - ZHdK, Switzerland

Making a Living from the Arts
Friday 02 December
Venue: Palazzo dei Congressi, Villa Vittoria
14.30-15.30
This session provides a guided tour into some of the professional skills and competencies that today's ar sts need to make a living from the arts. Such skills and competencies go beyond cultural entrepreneurship, as these are necessary assets for all artists and other professionals in the 21st century art world. The project NXT - Making a Living from the Arts is half way through its process and it gives a glimpse of what creative hubs and higher arts education institutions are doing in this changing world. How can young artists make a living from their artistic practice? How are higher arts education institutions taking into account cultural entrepreneurship and the teaching of employability skills? What are the new earning logics and economic models that actually work? What opportunities are there for the arts on the interface between the arts and other fields?Victoria Brattström, University of Gothenburg, Sweden; Kai Lehikoinen, University of the Arts Helsinki, Finland; Nana Radenkovic, Nova Iskra, Serbia.

Official Closing
What Makes Us Tick?
Carla Delfos
Friday 02 December
Venue: Palazzo dei Congressi, Villa Vittoria
17.00-18.15
The 14th ELIA Biennial closes with a keynote by ELIA Executive Director Carla Delfos. What can be said after 26 happy years at ELIA, or better yet, what cannot be said...Carla will not speak about the history of ELIA, or well, maybe just a little bit. She will be pondering over art, society, education, the world and the crazy Times That Are A-Changin’...again and again touching upon the same elusive question: ‘why do we do what we do?'
The session will end with a performance by Neu Now alumnus and saxophonist Olivier Duverger. Details

Pecha Kucha

A buffet lunch will be served, followed by presentations in the Japanese format of Pecha Kucha: 20 slides shown of 20 seconds each- equal to a total presentation of six minutes and 40 seconds. After the buffet, delegates will be divided in 3 different groups to attend the Pecha Kucha session(s) of their choice.

Mobile Sessions

Engage with the city’s wider cultural community and landscape during the Mobile Sessions: visits across a range of cultural and higher arts education institutions that are hosted by local artists and practitioners. Please notice: due to limited capacity, delegates will be asked during online registration to select their first and their second choice of which Mobile Session they wish to attend. Delegates will be allocated to the session of their choice on a first come, first served basis.

Session 1
IED – European Institute for Design

High-end Craftsmanship meets Advanced Technologies

Crafts and contemporary thinking: new forms of beauty for “hand made” products. Delegates are invited to visit the European Institute of Design and debate new trends with style and design experts and Tuscan craftsmen. A dialogue will be formed between those who are familiar with, and anticipate, aesthetic canons and the workers who have made the Italian brand synonymous with quality.www.ied.edu

Session 2
Palazzo Spinelli Institute for Art and Restoration

A practical restoration workshop of paintings on canvas and wood

Delegates are invited to come to Palazzo Spinelli’s workshops and learn about the restoration of paintings on canvas and wood. The practical session will involve an overview of various aspects of restoration and conservation processes and an interactive demonstration of some of the techniques.
Participants will also be able to visit the 15th-century chapel on the school campus with frescoes by Santi di Tito.www.palazzospinelli.org

Session 3
Fabbrica Europa at Le Murate

Inter Pares Project: Open Work Session with Agnese Lanza and Julie Havelund

Fabbrica Europa invites delegates to a end an open work session of the Inter Pares Project, focused on the value of observing, describing, listening and remembering. These elements are the raw material that
is physically explored and elaborated in the performance to discover a new sense of authenticity. The information taken from what is around us, audience and architecture, allows a sense of inter pares, of equality between ourselves and the space, to emerge from the work. The session is led by dancer Agnese Lanza, a graduate from London Trinity Laban Conservatoire, and Scandinavian, London-based dance artist Julie Havelund. Agnese Lanza and Julie Havelund danced together for the first time in the Square Dances (2011), a work commissioned by the Dance Umbrella festival and directed by Rosemary Lee. In 2013 they began developing Inter Pares Project and recently presented the work in different spaces both in the UK and in Italy. fabbricaeuropa.net

Session 4
Lorenzo de’ Medici - The Italian International Institute

Participants will be welcomed to the LdM Cucina in San Lorenzo Market and at the Fashion Department of Istituto Lorenzo de’ Medici for an interdisciplinary laboratory involving Art, Fashion and Food.
The session will be an exploration into the fusion of regional colours and flavours with the art of sensory experience. LdM extends an invitation to participants to travel on an artistic journey of the five senses resulting in the creative expression of aesthetics and taste.
The 'Culinary Masterpiece' project is a multidisciplinary laboratory that seeks to explore the highest expression of Italian creativity guided by professionals in the fields of fashion, art and cuisine. Colours and flavours will awaken and stimulate imagination and produce individual handmade creations; the cornerstone of centuries-old Tuscan tradition and Florentine craftsmanship.www.ldminstitute.com

Session 5
Conservatorio di Musica “Luigi Cherubini” di Firenze

Conservatorio Cherubini: From Roots to Leaves

Delegates will be welcomed in the Salone del Buonumore and then see three multidisciplinary musical interludes – with audio-visual interplay – organised by the Computer Music Department. During these interludes, small groups will be invited into the Library to see the historic collections of the Conservatoire including its most precious volumes and documents. Delegates will then enjoy three short, live acoustic performances from three different historical periods. The session will end with a talk by organised by RAMI-Ricerca Artistica Musicale in Italia, an association for research development founded by the Conservatorio Cherubini along with seven other Italian conservatoires. Throughout the afternoon, Computer Music students will be working in the areas around the Salone del Buonumore to create an interactive experience for delegates showing the relationship between machines and sound creation. The session has been put together to involve delegates in the Conservatoire’s current teaching and research activities and show them its historic links to the roots of our music culture.conservatorio.firenze.it

Session 6
Life Beyond Tourism: Travel, Heritage and Dialogue

Intercultural dialogue made through travel

The Fondazione Romualdo Del Bianco - Life Beyond Tourism has been dedicated to cultural rapprochement since 1991. Life Beyond Tourism is the practical application of the activities and research carried out by the foundation over 25 years of activity with university students from all over the world. Life Beyond Tourism is a way of living the travel, in respect of the territories’ identity, creating a new commercial offer that goes far beyond consumerist tourism.
The Foundation believes in travel as a crucial tool for the development of territories. Forecasts on tourism clearly show how important is this economy. The world needs to transform the power and capillarity of the tourism economy in a new form of hospitality that makes possible a greater awareness of cultural diversity and a consequent mutual respect – the essential basis for peace in a world that is moving towards 10 billion inhabitants.
Delegates are invited to hear about how the Fondazione Romualdo Del Bianco is now spreading its knowledge and research through its International Institute Life Beyond Tourism that provides courses in Florence and in all the institutions part of the Foundation's network (over 500 institutions in 83 countries in the 5 continents), and take part in the continuing debate on how to move forward into the future.www.lifebeyondtourism.org

Session 7
Le Arti Orafe Jewellery School

A Date with a Jewel at Le Arti Orafe Jewellery School

A visit to the schools facilities offering insight into the activities of dissemination of contemporary jewellery culture on an international level and the possibility to participate in an interview / dialogue with a student at the workbench.
The delegates are invited to visit the LAO Facilities in Oltr’arno, part of the historic city centre of Florence. The visit includes an exhibition of students’ works, a presentation of the school’s teaching methods and its activities in the organisation of events dedicated to the dissemination of contemporary jewellery. The delegates are also invited to participate in an interview/dialogue with the students and their work. They will have the chance to sit down at the workbench and anticipate the creative process of making a piece of jewellery from the idea to the object. To encourage further exchange, we want to invite the delegates who want to participate in this meeting, to bring a (family) jewel (or a photograph of the same) to exchange a story of their own with the students.www.artiorafe.it

A live visit to the historic Teatro della Pergola intertwined with performances recreating and explaining the theatre’s history, secrets, evolution and spaces.

The magic of a theatre does not just come alive on the stage, but behind the scenes in the backstage areas, wings, dressing rooms and corridors: the parts that never appear in the playbills and programmes. The live theatre visit, In sua movenza è fermo, is named after the motto of the Accademici Immobili, the founders of the theatre. It is a voyage into the heart of the theatre in the company of “friendly shadows”; the characters that, over three centuries, have made the Teatro della Pergola great and immortal. The theatre manager/impresario Lanari, the inventor Meucci, the soprano Barbieri Nini, the stagehand Canovetti and the wardrobe mistress of Eleonora Duse tell their stories to visitors as if suspended between a dream and real life. The visit includes the museum section of the theatre with items on display such as the original stage lifting mechanism built in 1857 by Canovetti and the high-backed chair built for the première of Giuseppe Verdi’s Macbeth in 1847.www.teatrodellapergola.com

Delegates are invited to the National Central Library of Florence to see the last remaining original chapters from the manuscript of the Adventures of Pinocchio and discuss the book’s significance with the Director of the Pinocchio by Carlo Lorenzini Cultural Association. The Association studies and promotes the Florentine author of the Adventures of Pinocchio – the most translated book in the world after Bible and Koran – through the identification of historical themes mentioned in many of the writer’s tales. The Association also works on projects for the architectural, social and economic redevelopment of the San Lorenzo district, where the author was born and lived. Activities include support for historical shops to promote the teaching of arts and crafts typical of Florence’s artisan culture.www.pinocchiohome.itwww.bncf.firenze.sbn.it

Open Space

Wednesday 30 November
Venue: IED
14.00-18.00

Open Space is the non-curated platform that offers ELIA partners and member institutions the opportunity to showcase and share their own practices with delegates, being it for example a workshop, as a kick-off meeting for the starting of new initiatives or to accommodate networking, sharing experiences and discussion in their field of expertise. Delegates attending Open Space can register for the whole conference upon arrival at the venue and select during online registration which session(s) they wish to attend.

14.00-15.30
Room 0-2Quality Assurance in the Arts: Discovering scopes for development instead of Sticking to European Standards. Reflections, a Case Study and Open Exchange.

Although Europe defines itself strongly by its cultural diversity, actual trends in higher education seem to encourage standardization more than individual approaches and strategies. This session wants to encourage arts universities to use their potential in critical reflection and innovative reasoning to come up with alternate and more development-oriented approaches to Quality Assurance and Quality Enhancement.

Presentation and Open Exchange
Bernhard Kernegger
University of Applied Arts Vienna, AustriaDetails

14.00-15.30
Room 12European Academy of Participation

The session will provide information about the EU Strategic Partnership European Academy of Participation and discuss its first milestone outcome, the Tuning Document Participatory Art Practice. This broad benchmarking document will be illustrated by an exemplary new post-graduate module developed within the project as a low residency intensive course ‘Creative Producer’. Its innovative potential lies in its delivery in a creative partnership, in its approach to horizontal knowledge transfer and its critical link to current political agendas. It includes reflection on the problematic term of “participation”, but also notions of social inclusion, democratic representation and artistic responsibility. The Sinopale 2017 as a laboratory life learning environment for the European Academy of Participation will present outcomes and insights.

Presentation
Chrissie Tiller
United Kingdom

14.00-16.00
Room 10Cumulus/Beyond the Classroom/Beyond Borders

A conversation about immersive learning opportunities nationally and internationally within the Art and Design College.
We will bring forth topics to stimulate dialogue about the intersections of art and design in colleges, directed at "Turning Mirrors into Windows," the conference theme. The format will be presentation of ideas, followed by dialogue and discussion with assessment at the end of the session.
www.cumulusassociation.org

Cumulus Session- International Association of Universities and Colleges in Art, Design and Media
Ann Albritton, Gwen Farrelly
Ringling College of Art and Design, United States

The Mirror Salon is a format for group discussion and reflection. It facilitates a rapid and spontaneous exchange of views and practices between diverse participants, making use of the design thinking methodology. Here it focuses on ‘decision time’: How do you make your artistic, design or educational decisions? And what happens when you make artistic, creative and/or design decisions? During the workshop each participant will individually and in small groups look at how he/she makes decisions and compare experiences.

Workshop
Kai van Hasselt- Independent Adviser, Noha
in partnership with Fontys School of the Performing and Fine Arts, the NetherlandsDetails

The Paradox Fine Art European Forum warmly invites you their Open Space, where they will present their findings and achievements over the last two years and announce their exciting forthcoming conference.
Building on the success of conferences in Poznan (2015), Granada (2013), Cork (2011) and Palermo (2009) the 2017 Paradox European Fine Art forum biennial conference will take place in London. Reflecting on the current social and political climate for artists and educators, and taking its cue from the diversity of its host city, the conference will examine how issues of difference, change, inclusion and prohibition are currently played out within the discipline of Fine Art and education across Europe. Drawing together researchers, educators, students and artists it will explore the issues most at stake within art practice and education, for those who teach and learn.

Hosted by Middlesex University at Conway Hall & the Artworkers’ Guild, London
Paradox Session- Fine Art European Forum

14.00-17.30
Room 13Mime-education in Europe: What's up today?Mime as an arena between dance, theatre and circus

In this session we will start a dialogue on the actual situation for the education of mime/physical acting: not as much about what technique/knowledge we base our instruction on (or how the schools define their work, mime or not) but how we teach the diverse techniques and what is our contribution to the modern European theatre. Together with the seminar a short masterclass will take place, presenting the main principles of SADAs pedagogy, named “The physically thinking actor.”
The goal of the session is also to form an international network of schools working in the field, to make exchanges of students and teachers possible. In creating such a network we would all deepen our knowledge and enhance the possibilities of research on the field.

16.00-17.30
Room 16We are the monuments– workshop about forgetting as Art Practice in Public Space

The workshop "We are the monuments" explores and reflects the idea that even small collaborative actions and gestures can reactivate the forgotten past. How we remember, depends on how we engage with the world through our experience, our memory and our very presence.

Workshop
Merete Røstad
The Oslo National Academy of the Arts, NorwayDetails

16.00-17.30
Room 4European Programmes

This interactive workshop provides up to date information on European funding programmes and policies. There will be time for questions and answers, as well as for individual consultations.

Workshop
Lars Ebert
European League of Institutes of the Arts (ELIA), the NetherlandsDetails

16.00-17.30
Room 14Smart Museum

CATCH -Continuous Access To Cultural Heritage- is a programme in which IT researchers and heritage managers work together on making heritage available digitally. The programme encourages collaboration, innovation and the transfer of knowledge. The aim of the programme is to make the collections of museums, archives and historical associations, for example, more accessible. Furthermore, the newly developed instruments should enable heritage mangers to do their work more efficiently. During the session research outcomes will be shared and the latest developed tools introduced, followed by time for questions and answers.

Presentation
Alberto Reatti
Florence University, Italy

16.00-17.30Room 0-2Creative Practice and Research

The ADAPT-r ITN – Architecture, Design and Art Practice Training-research – aims to increase significantly European research capacity through a unique and ground-breaking research model. At its core is the development of a robust and sustainable network in an emergent field of research across a range of design and arts disciplines – creative practice research. The key element is that researchers combine their creative practice with research embedded in an academic environment.
During this session, recent developments and results will be presented, and form the basis for sharing experiences with artistic research of participants in the session. We will not focus on the political aspects of artistic research, but will instead try to go deeper in the research processes and how research and practice mutually and positively influence each other.

Presentation
Johan Verbeke, coordinator of ADAPT-r, Campus Sint-Lucas, KU Leuven, Belgium and Aarhus School of Architecture, Aarhus, Denmark
Sally Stewart, the Mackintosh School of Architecture, the Glasgow School of Art, Scotland

16.00-17.30
Room 12International Project Management Training

Especially for institutions operating in the lively domain of research and professional practice in the arts, international projects do not only reach across borders in terms of nationalities and cultures. It often also involves a variety of artistic disciplines, fields of expertise and the ability to marry several objectives and interests. ELIA addresses in this session the multifaceted skill set necessary to design, develop and manage these kind of projects successfully, which goes beyond the established project management tools and techniques. It requires the ability to built and adapt upon various combinations of explicit and tacit knowledge, practical experience and an ethos of partnership, while taking the widely different cultural, social, economic and professional settings from across the globe into account. There will also be time for questions and answers.

Workshop
Marte Brinkman
European League of Institutes of the Arts (ELIA), the NetherlandsDetails

16.00-18.00
Room 11Wimbledon College of Arts European Performance and Theatre Design Network: An introduction

Following on from the exhibition ‘Evolving Design for Performance’ in Beijing in 2015, Wimbledon College of Arts is establishing a European Network of institutions of Performance and Theatre Design.
Supported by the University of the Arts London this Network aims to “open a window” of reflection onto Performance and Theatre Design pedagogy; to develop opportunities for debate, to initiate projects, and develop staff exchanges.
The Open Space will allow participants to hear about the vision for the Network, and an open discussion will begin to shape the agenda for the conference to be held in Wimbledon in 2017 to establish the Network. After the presentation and open discussion there will also be time for networking.

Network Session: Presentation, Discussion, Starting of a new Network
Simon Betts, Esther Armstrong
Wimbledon Collage of the Arts, University of London, United Kingdom

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Table Talks

Table Talks are designed to discuss the input and questions raised during the plenary sessions with colleagues from across the globe. Delegates will be assigned to small, alternating discussion groups to facilitate dialogue and to encourage networking.

General Assembly

MEMBERS ONLY
Saturday 3 December
09:30-13:00
Venue: Auditorium Al Duomo

The ELIA General Assembly will be held in the Auditorium Al Duomo. While the ELIA Conference is open to all delegates, the General Assembly is a forum that is restricted to ELIA members only. The registration opens at 8.30 hrs and the agenda, as well as relevant papers, will be distributed separately. Please notice: We kindly ask delegates who are authorized to attend or vote during the General Assembly to register on time due to logistic reasons.

Cutural Events

Click on the title for more details on the event. Please notice the programme is still tentative and work in progress.

CIVIC RECEPTION
Thu 01 Dec
19.00Venue: Salone dei Cinquecento, Palazzo Vecchio
Delegates are invited to attend the Civic Reception. The City Council of Florence welcomes participants of the conference in the Salone dei Cinquecento in Palazzo Vecchio, followed by dinner.

CLOSING PARTY
Fri 02 Dec
21.30
Venue: TBC
One of Florence’s premier contemporary venues will set the scene for the closing party, where we all have the opportunity to meet, dance and relax before returning home.

Civic Reception

Delegates are invited to attend the Civic Reception. The City Council of Florence welcomes participants of the conference in the Salone dei Cinquecento in Palazzo Vecchio. This unique venue and world-class artifact is during the Civic Reception accessible to ELIA delegates only. After the welcome a buffet-style dinner will be served.

Closing Party

Friday 2 December
21.00-01.00
Venue: Palazzo Strozzi

The Closing Party takes place in Palazzo Strozzi: one of Florence its premier examples of civic Renaissance architecture. Palazzo Strozzi is nowadays host to world-class art exhibitions, such as at the time of the conference by Chinese artist Ai Wei Wei. One of his sculptures will be on display in the centre of the courtyard, which can be admired while we enjoy drinks and music.

Please notice: an additional €20 fee (€5 fee for PhD Students) is required and it can be purchased from 21.00 hrs at the door of the Palazzo Strozzi on the night itself. Tickets purchased during the online registration will be included in your personal envelope, which will be dessiminated when you collect your conference bag at the venue.

Please Blind Date Dinner

Please notice: fully booked!
Registration for this event is closed.

Wednesday 30 November
20.00
Venue: Il Porcospino

If you wish to start networking straight away, join the optional Blind Date Dinner. During this dinner just before the official start of the conference, the organisers facilitate matchmaking: placing participants in intimate groups across several tables at the restaurant, where authentic Florentine dishes and drinks will be served.

Please notice places are limited and participation involves an additional fee of EUR 40. If you wish to join the Blind Date Dinner, you can ensure your place by making a pre-reservation in the portal during online registration.

Optional:
Higher Arts Education Institutions Visits

Wednesday 30 November
Venue: Various
Meeting Point for Departure: TBC
10.00-12.00

Early arriving delegates are invited to participate in one out of six tours, organised and hosted by local higher arts education institutions. Please notice: places are limited and must be pre-reserved during online registration.

1. Art and Restoration at Palazzo Spinelli

A visit to the Art and Restoration Laboratories of Palazzo Spinelli and the 15th century chapel with frescoes by Santi di Tito.

Palazzo Spinelli Institute for Art and Restoration is in Florence’s antiques quarter near Palazzo Pitti on the left bank of the Arno. It was founded in 1978 and now operates from Palazzo Zanchini-Corbinelli, later Palazzo Ridolfi, in Via Maggio. Palazzo Spinelli invites delegates to visit the paintings and frescoes restoration laboratories, and the 15th century Zanchini-family chapel. Palazzo Spinelli’s students restored the chapel over a period of three years and completed the work in 2005. The chapel has frescoes attributed to Santi di Tito and an original 14th-century floor with Montelupo ceramic tiles.www.palazzospinelli.org

A visit to the schools facilities with life demonstrations of students and staff as well as an insight into the activities of dissemination of contemporary jewellery culture on an international level.

The school invites the delegates to visit the school facilities in Oltr’arno, part of the historic city center of Florence. The delegates will get an insight into the schools history, its way of embracing constant change and teaching living heritage. The “Preziosa Contemporary Jewellery” exhibition, organised since 2005, will be an example of how the school brings together international players of the art jewellery world to draw attention to the field of contemporary handcrafts and to involve the audience in further activities as successfully proposed in the first edition of the “Florence Jewellery Week” in 2015. Finally the delegates will witness the students and teachers working in the beautifully equipped workshops and can engage in questions and answers.www.artiorafe.it/en/

At the Palazzo dei Cartelloni (located on Via Sant'Antonino 11), in addition to SACI's main Gallery and beautiful garden, visitors will have an opportunity to see SACI's Library, Lecture Hall, Conservation laboratories, and Photography, 2D (Painting, Drawing, and Etching) , and 3D (Ceramics and Sculpture) studios.

Visitors will be guided from the Palazzo dei Cartelloni to the Jules Maidoff Palazzo for the Visual Arts (Via Sant’Egidio 14), where they will see SACI's Maidoff Gallery and garden, MFA in Studio Art, MFA in Photography, and Post-Bac studios, as well as Design, Multimedia, Digital Photography, Animation, Video, Fresco, and Language/Literature classrooms.www.saci-florence.edu

4. Lorenzo de’ Medici - The Italian International Institute

5. Palazzo Coppini, International Meeting and Study Centre

Palazzo Coppini dates back to the fifteenth century and is located in Via del Giglio, in the heart of Florence. Functioning as the historic headquarters of the Fondazione Romualdo Del Bianco® - Life Beyond Tourism®, it has been completely renovated. After twenty active years, the Fondazione Romualdo Del Bianco®-Life Beyond Tourism® is putting the memoirs, objects and volumes that have been donated to it over the years on public display. Palazzo Coppini accommodate numerous cultural treasures: books, including over 6000 volumes written in several languages in 11 different alphabets, as well as artefacts. These objects and books come from all over the world and from very diverse cultures.
By halting a project designed to turn Palazzo Coppini into a hotel, the Fondazione has, yet again, salvaged a building for public and cultural use. This is the space where the Fondazione Romualdo Del Bianco® - Life Beyond Tourism® conduct its studies and research to promote cultural dialogue both from and with Florence.www.istitutointernazionalelbt.orgwww.palazzocoppini.org/en/http://fondazione-delbianco.org

6. Conservatorio di Musica “Luigi Cherubini” di Firenze

Delegates will be welcomed in the Salone del Buonumore by the Director and the Deputy Director. Students will perform a short piece then delegates will be accompanied on a guided visit to the ancient musical instruments collection in the Accademia Gallery. The collections include Medici and Lorraine pieces from the second half of the 17th century to the first half of the 19th century. Rare items include 18th-century string instruments, some made by Antonio Stradivari (a tenor viola, a cello from 1690 and a violin from 1716), and a precious cello by Niccolò Amati from 1650. There is also a harpsichord by Bartolomeo Cristofori, the inventor of the pianoforte, and an ancient vertical piano. The visit will come to an end in the Accademia Gallery in front of Michelangelo's David.
www.conservatorio.firenze.it/it/

Optional:
Higher Arts Education Institutions Visits

Wednesday 30 November
Venue: Various
10.00-12.00

For the early arrivals we have organised a few tours hosted by higher arts education institutions. The hosts will take you on a journey through their work and the unique historic venues where they are situated. Please notice: places are limited and should be pre-reserved during online registration. Delegates are able to choose one out of six tours.

Art and Restoration at Palazzo Spinelli

A visit to the Art and Restoration Laboratories of Palazzo Spinelli and the 15th century chapel with frescoes by Santi di Tito.

Palazzo Spinelli Institute for Art and Restoration is in Florence’s antiques quarter near Palazzo Pitti on the left bank of the Arno. It was founded in 1978 and now operates from Palazzo Zanchini-Corbinelli, later Palazzo Ridolfi, in Via Maggio. Palazzo Spinelli invites delegates to visit the paintings and frescoes restoration laboratories, and the 15th century Zanchini-family chapel. Palazzo Spinelli’s students restored the chapel over a period of three years and completed the work in 2005. The chapel has frescoes attributed to Santi di Tito and an original 14th-century floor with Montelupo ceramic tiles.www.palazzospinelli.org

A visit to the schools facilities with life demonstrations of students and staff as well as an insight into the activities of dissemination of contemporary jewellery culture on an international level.

The school invites the delegates to visit the school facilities in Oltr’arno, part of the historic city center of Florence. The delegates will get an insight into the schools history, its way of embracing constant change and teaching living heritage. The “Preziosa Contemporary Jewellery” exhibition, organised since 2005, will be an example of how the school brings together international players of the art jewellery world to draw attention to the field of contemporary handcrafts and to involve the audience in further activities as successfully proposed in the first edition of the “Florence Jewellery Week” in 2015. Finally the delegates will witness the students and teachers working in the beautifully equipped workshops and can engage in questions and answers.www.artiorafe.it

At the Palazzo dei Cartelloni (located on Via Sant'Antonino 11), in addition to SACI's main Gallery and beautiful garden, visitors will have an opportunity to see SACI's Library, Lecture Hall, Conservation laboratories, and Photography, 2D (Painting, Drawing, and Etching) , and 3D (Ceramics and Sculpture) studios.
Visitors will be guided from the Palazzo dei Cartelloni to the Jules Maidoff Palazzo for the Visual Arts (Via Sant’Egidio 14), where they will see SACI's Maidoff Gallery and garden, MFA in Studio Art, MFA in Photography, and Post-Bac studios, as well as Design, Multimedia, Digital Photography, Animation, Video, Fresco, and Language/Literature classrooms.www.saci-florence.edu

Istituto Lorenzo de’ Medici - The Italian International Institute

Meet the Etruscans: Art and Archeology at Istituto Lorenzo de’ Medici

Participants will be welcomed to the Church of San Jacobo in Campo Corbolini at Istituto Lorenzo de’ Medici for a one-of-a-kind meeting on art, education, and archeology.
The visit will begin with a presentation of Istituto Lorenzo de’ Medici, covering its history, facilities, and educational opportunities, including the archeology program in collaboration with the Center for Ancient Mediterranean and Near Eastern Studies (CAMNES). Following the discussion of education, attendees will have the unique opportunity to view Etruscan artifacts excavated from the archeological digs of Tuscania, a historic hilltop town located in the breathtaking countryside of Latium-Region. The artifacts were recovered with the aid of LdM faculty and students in cooperation with the State University of Florence and are distinctive to the history of the region, not existing outside of Italy.www.ldminstitute.com

Palazzo Coppini, International Meeting and Study Centre

Palazzo Coppini dates back to the fifteenth century and is located in Via del Giglio, in the heart of Florence. Functioning as the historic headquarters of the Fondazione Romualdo Del Bianco® - Life Beyond Tourism®, it has been completely renovated. After twenty active years, the Fondazione Romualdo Del Bianco®-Life Beyond Tourism® is putting the memoirs, objects and volumes that have been donated to it over the years on public display. Palazzo Coppini accommodate numerous cultural treasures: books, including over 6000 volumes written in several languages in 11 different alphabets, as well as artefacts. These objects and books come from all over the world and from very diverse cultures.
By halting a project designed to turn Palazzo Coppini into a hotel, the Fondazione has, yet again, salvaged a building for public and cultural use. This is the space where the Fondazione Romualdo Del Bianco® - Life Beyond Tourism® conduct its studies and research to promote cultural dialogue both from and with Florence.www.istitutointernazionalelbt.orgwww.palazzocoppini.orgfondazione-delbianco.org

Conservatorio di Musica "Luigi Cherubini" di Firenze

A visit to the Conservatoire and the acient musical instruments collection in the Accademia Gallery.

Delegates will be welcomed in the Salone del Buonumore by the Director and the Deputy Director. Students will perform a short piece then delegates will be accompanied on a guided visit to the ancient musical instruments collection in the Accademia Gallery. The collections include Medici and Lorraine pieces from the second half of the 17th century to the first half of the 19th century. Rare items include 18th-century string instruments, some made by Antonio Stradivari (a tenor viola, a cello from 1690 and a violin from 1716), and a precious cello by Niccolò Amati from 1650. There is also a harpsichord by Bartolomeo Cristofori, the inventor of the pianoforte, and an ancient vertical piano. The visit will come to an end in the Accademia Gallery in front of Michelangelo's David. www.conservatorio.firenze.it

Restoration Project: the Medici Coat of Arms of the Palagio di Parte Guelfa

The Medici Coat of Arms of Palagio di Parte Guelfa will be restored thanks to ELIA Conference Delegates. Using the hotel booking portals on the ELIA website, a percentage of the booking fee will go towards funding the project.

Both portals have undersigned an agreement to donate a percentage of the booking fee to a restoration project in Florence’s city centre. The proceeds will fund the restoration of a polychrome Medici coat of arms sculpted in pietra serena by the eighteen-year-old Giambologna. The coat of arms is on the balcony of the Palagio di Parte Guelfa, the headquarters of the Guelph Party in the Middle Ages.

Palagio di Parte Guelfa is a historical building in central Florence. During the Middle Ages, it was the headquarters of the Guelph party (Parte Guelfa). Construction began on the building in the early 14th century and in the 16th century Giorgio Vasari added a coffered ceiling and a new staircase. In 1921, the whole complex underwent an extensive renovation in neo-medieval style. Remaining artworks include a lunette by Luca della Robbia (above the façade portal), a small loggia by Vasari and a Medici coat of arms sculpted by Giambologna.

Cristina Acidini

The 14th ELIA Biennial Conference will be heralded by an opening performance and official welcome, followed by a keynote of Italian art historian and writer Cristina Acidini.

Before taking on her current position as the President of the l’Accademia delle Arti del Disegno of Florence –the oldest fine art academy in the world- Cristina Acidini worked amongst others at the Ministry of National Heritage and Culture and was Superintendent of the State Museums of Florence.

She is widely recognised for her contribution to art restoration and conservation and has curated numerous exhibitions in Italy and abroad. In addition, Cristina Acidini has written many essays on art history and has published two novels.

Carla DelfosFounder and Executive Director ELIA

Founder and Executive Director of ELIA Carla Delfos will give a keynote during the Official Closing of the 14th ELIA Biennial Conference.

Carla Delfos graduated from the Theatre school in Amsterdam and worked as actress, theatre director and writer. She served on numerous boards, national and international, including the Amsterdam School of the Arts. She is the founder of the European League of Institutes of the Arts – ELIA – and has been the organisation’s Executive Director since. She gave leadership to the development of ELIA into an influential independent network of over 300 institutions/universities in 55 countries, representing more than 350.000 art students.

ELIA contributes to the recognition of the European Higher Art Education Sector and to improved conditions for higher arts education and graduating artists. In the frame of ELIA she successfully realized several research projects funded by the European Commission and numerous events and conferences, including the annual graduate festival NEU NOW.

She was knighted 'Chevallier dans l'ordre des Arts et des Lettres, awarded an Honorary Fellowship by the Hong Kong Academy of Performing Arts and Music and a Degree of Doctor of Arts by Columbia College Chicago and an Honorary Doctorate by the Robert Gordon University in Aberdeen.

Photo Credits: Simon Bosch

David Greig

Playwright and Theatre Director, Scotland

David Greig is a Scottish playwright and theatre director, with a particular relationship with writers in the Middle East. His work has been produced and performed in most of Europe, USA, Canada, Brazil, Australia, Japan and Korea.

David Greig was born in Edinburgh in 1969. He spent much of his childhood in Jos, Nigeria during the 1970’s where his father worked in the construction industry. In 1980 his family returned to live in Edinburgh where he went to school. His first involvement with theatre was with Edinburgh Youth Theatre where he acted in a number of shows. In 1987 he went to Bristol University to study English and Drama.
He graduated from Bristol University in 1990 and began to work with Graham Eatough and Nick Powell as Suspect Culture on the Edinburgh Fringe. Over two years he wrote and directed five shows and was twice nominated for The Guardian Student Drama Award and won a Scotsman Fringe First for Stalinland.
In 1993 he moved to Glasgow where he received his first professional commissions from The Traverse Theatre and The Royal Court. Since then he has written many plays, most of which have premiered in Scotland. From 2005 to 2007 he was the first Dramaturg of The National Theatre of Scotland. His work has been produced extensively abroad. His plays have been translated and produced in most of the countries of Europe, USA, Canada, Brazil, Australia, Japan and Korea.
As a workshop leader David Greig has worked on many projects to teach or develop playwriting, in which he has a particular relationship with writers in the Middle East, such as from Palestine, Egypt, Syria, Lebanon, Tunisia and Morocco. He also worked with April De Angelis on a major two year collaboration between the Royal Court Theatre and The British Council. The plays produced in that project were published in English and in Arabic and have been given performed readings New York, London, Beirut and Cairo.
From 2006 David Greig has been on the board of The Traverse Theatre in Edinburgh.

Photo Credits: Murdo MacLeod

Anna Paolini

Director of the UNESCO Office in Doha, Qatar

Anna Paolini has over 25 years experience of advocating culture in areas of conlict and is the Director of the UNESCO Office in Doha, Qatar, as well as UNESCO Representative to Bahrain, Kuwait, Oman, Qatar, Saudi Arabia, United Arab Emirates and Yemen. She is also a member of the International Council of Museums (ICOM) and the Italian Association of Professional Architects.

Born in Italy, Anna Paolini holds Master’s degrees in Architecture as well as Urban and Regional Planning for Developing Countries from the University Institute of Architecture of Venice. She continued her academic achievements with a post-graduate degree on Development Cooperation from the Faculty of Political Science of the University of Trieste and a Ph.D. in Urban and Territorial Engineering from the Faculty of Engineering at the University of Bologna. Subsequently, she carried out post-doctoral studies as a Research Affiliate at the Centre for Near East Studies at the University of California.

Anna Paolini began her career in the field of cultural heritage, working with Italian engineering and architectural firms and as a Research Associate with the Istituto Universitario di Architettura di Venezia. As part of her post-graduate studies, she worked also on architectural and urban planning projects in Eastern European countries, as well as in Tanzania, Kenya, India, the Congo, Morocco and Tunisia.
In 1992, Anna Paolini joined UNESCO as an Associate Expert at the UNESCO Office in Amman. She has been working for the organisation ever since and was promoted multiple times. During this period she was involved with amongst others the long-term rehabilitation of collections of the Kuwait National Museum and the preparation of National Strategies for Cultural Development in Abu Dhabi and Yemen. She also was responsible for the Secretariat of the International Coordination Committee for the Safeguarding of Iraqi Cultural Heritage (ICC) and was appointed Head of the UNESCO Office respectively in Tashkent and Amman.
In 2013 Anna Paolini became the Director of the UNESCO Office in Doha and UNESCO Representative to Bahrain, Kuwait, Oman, Qatar, Saudi Arabia, United Arab Emirates and Yemen, a position she holds to date.

Daan Roosegaarde

Artist and Social Designer, Studio Roosegaarde, the Netherlands

Daan Roosegaarde, creative director of the social design lab Studio Roosegaarde, delivers unimaginable technology to the world – in the most literal way.

With studio’s in Rotterdam and Shanghai, he develops innovative, interactive landscapes that are accomplished through the objective of pulling technology ‘out of the screen’ and integrating it into the real world.
The key to accomplishing this task, believes Roosegaarde, is his Dutch attitude of artist-entrepreneur, which he considers equal parts “priest and entrepreneur” in order to perfectly merge technology and creativity. Through the creation of social designs that instinctively respond to sound and movement, he is able to pursue the widest possibilities of technological innovation.

Roosegaarde is best known for his internationally awarded projects such as ‘Dune’, ‘Intimacy 2.0’ and ‘Sustainable Dance Floor’. In 2008 he developed the ‘Sustainable Dance Floor’ which is the interactive dance floor that generates electricity through the motion of dancing. The interactive technology creates an environment in which dancers are sensually engaged with sustainability. But Roosegaarde wants to go further. Together with the infrastructure company Heijmans, he is currently developing ‘Smart Highways’ which are interactive and sustainable roads.

Roosegaarde’s professional mission is to create the missing links between bullshit and beauty, between fantasy and budget. He believes that The Netherlands must lose its “yes, but...” attitude and “look for the missing links”. This link between between ideology and technology, is what Roosegaarde calls “techno-poetry”.
Roosegaarde has won the Dutch Design Award, Charlotte Kohler Prijs, Design for Asia Award and China's Most Successful Design Award. He has been the focus of exhibitions at the Tate Modern, the National Museum in Tokyo, the Victoria and Albert Museum in London, and various public spaces in Rotterdam and Hong Kong.

Alschitz, Jurij

Abstract - Teaching Professional Theater Practice (New international project of Shota Rustaveli Theater and Film Georgian University and AKT-ZENT, Berlin, Germany)

Since last year Shota Rustaveli Theater and Film Georgian State University started cooperating with AKT-ZENT in the field of Theater Pedagogy, which for several years invites universities and academies to jointly examine the position of the acting teacher and the different ways for the education of acting teachers.
During the ELIA congress Shota Rustaveli Theater and Film Georgian State University and AKT-ZENT would like to discuss and investigate different models of training - as a Master programme for academies and universities (HEIs) and as a post-graduate Vocational Education and Training course. Furthermore this new international project proposes to share the newest research of Dr. Jurij Alschitz and raise artistic methodological questions challenging theatre education today:
Dialogue Presentation by Professor Dr. Jurij Alschitz, Professor Giorgi Margvelashvili and Dr. Levan Khetaguri.
The world is entering a new stage of its development, a stage of rapid development, in which the distribution of new information technologies assume the character of a global information revolution; one, which has a growing influence on politics, economics, science, culture and, above all, on education. This so-called digital revolution is determining the motion of an entirely new type of society, albeit one that still sees this information as the basis of acquiring ‘knowledge’.
The famous words uttered by philosopher Francis Bacon - "Who owns the information - owns the world", could now perhaps be slightly amended to “Who owns the education - owns the world”. Over the past two years, AKT-ZENT Research Centre has spent time researching and exploring through practical case studies how the development of theatrical education in this new era should be determined, in order to comply with our rapidly evolving society.
Prognoses indicate that this period will be marked by a distinct lack of energy in general, which in turn will generate a counter-energy of creation. This creativity will determine the development on many different levels - state,individual and social.
The aim of theatrical education is to provide an entrance point for integration into the global information space, before the most recent discoveries in science and technology are fully realized. For schools and education, this requires changes in the very near future. Changing theater schools equals (=) changing theater.

BIO

Dr. Jurij Alschitz - Director, theatre teacher and academic, Dr. Jurij Alschitz, received his first director training in Moscow under the tutelage of Prof. J. N. Malkovsky (a former pupil of Stanislavsky). After several acclaimed productions, he continued his education with a second course of training at GITIS Russian Academy for Theatre Arts, under the instruction of Prof. M. Butkevich and Prof. A. Vasiliev, where he subsequently held a teaching post.
In 1987, he took part in the foundation of the theatre ‘School of Dramatic Art – Anatoly Vasiliev’, where he established his own rehearsal and training methods. From there, Jurij Alschitz went on to further develop the methods of the famous Russian theatre tradition, creating his own unique pedagogical system, whereby training forms the central basis of educational and rehearsal techniques. In 1992, Jurij Alschitz established his own “School” by teaching and directing at various universities and drama schools throughout Europe and which led to the opening
of International Theatre Centres in Berlin, Stockholm, Oslo, Rome and Paris, now commonly known as The European Association of Theatre Culture. EATC has created an extensive network of ideas and a teaching ensemble with the ongoing aim to channel new theatre impulses and instigate practical research.
He is the artistic director of the AKT-ZENT /research centre of the International Theatre Institute in Berlin. In 1999 he founded the bi-annual international festival for theatre training methods – METHODIKA His actual works are concentrating on the theoretical research and practical theatre training methods. In 2011 the project of J.Alschitz "World Theatre Training Library” was recognized by the International Theatre Institute as one of the most important theatrical exploration nowadays.
In 2012-14 he proposed and realized the first MA Master Programme for Teaching Professional Theatre at UNAM, Mexico; since 2015 the second pilot started with European Academies.
His books have been published in a range of languages and offer practical theatre exercises and advice for thousands of students, teachers, actors and directors.

Baker, Robert

Robert Baker is an artist and has been teaching at Oxford Polytechnic, School of Architecture (UK), University of Virginia, School of Architecture (USA), Georgia Institute of Technology, School of Architecture (USA). At the Limerick Institute of Technology, School of Art & Design (IRL) Baker was Foundation Studies Course Leader, Painting Course Leader and Head of Fine Art Department.
Baker has been involved in European Quality Assurance developments for Higher Arts Education since 2002 and was on several National Agency Panels in Ireland, Czech Republic, Romania, Bulgaria, Lithuania and The Netherlands.

NICAI: Art and Arts Education in a Changing World

Diane Brand, Nuala Gregory
University of Auckland, New Zealand

The presentation focuses on three cases studies that together illustrate the ensemble of approaches undertaken at NICAI. Drawing on various NICAI disciplines, the studies range from engagement with the culture of indigenous people, to strategic arts projects in zones of conflict, to preparing students for creative participation in the new world of global media and technology. All three reflect the overall vision of NICAI in building a community of enquiry that explores contemporary issues in a national and international context.
The first study deals with strategic support for the tertiary education of Maori and Pacific students in New Zealand. It includes initiatives directed towards wider understanding and engagement with indigenous language and tradition, combined with culturally appropriate forms of support for the education of individual students, with emphasis on their personal development and wellbeing. This represents a holistic approach to education rooted in the person and the cultural environment, equipping students with the confidence and skills to embrace a changing world of new possibilities.
The second study is focused on the strategic role of dance education in international zones of conflict from the Middle East to the Baltic states. Research undertaken by NICAI Dance Studies asks how participation in the art of dance might assist people to negotiate contemporary crises born of complex questions of history and identity. Specific projects have involved the role of women in their society, affected by notions of modernity, the stresses of war and politics, and the impact of enforced migration and the plight of refugees. Again, the study reveals the role of art and creativity in the building of personal and communal identities in a rapidly changing and often overwhelming world.
The third study takes yet another approach, this time tracking the progress of a recent graduate from NICAI Fine Arts. It shows how a young artist can be equipped to embrace new media and technologies, and to make interventions that question their impact on the interconnected realms of lifestyles, communications, economics and politics. Whether this rapidly changing world appears exhilarating, baffling, or threatening will depend on the student’s level of understanding and the depth of the skills acquired through a well-planned contemporary curriculum. All three studies build on a common platform within NICAI that has supported many other projects of international standing, dealing with contemporary urban forms, public art, and the role of art in a time of change.

About Diane Brand

Diane Brand trained in New Zealand and the USA as an architect and urban designer, and worked professionally for large international practices, before becoming an academic in 1994. As an educator, she has worked at the disciplinary boundaries of architecture, landscape architecture, urban design and planning. She was instrumental in introducing New Zealand’s first masters programme in urban design at the University of Auckland. Since 2008, in her role in academic governance, she has emphasised the linkages between disciplines; has overseen curriculum restructurings at Victoria University School of Architecture and Design; and is now Dean of Creative Arts and Industries at the University of Auckland. Diane has for many years been involved in urban design panels in Adelaide, Auckland and Christchurch, and she publishes extensively in international journals of planning and urban design.

About Nuala Gregory

Nuala Gregory is an exhibiting artist in the mediums of painting, printmaking, sculpture and drawing. Her work has been shown in Ireland, the USA, New Zealand, Mexico, China and Japan. In recent exhibitions, she has sought a ‘return’ to the possibilities of colour, surface, drawing and collage in order to renew the force of the material and the aesthetic in art, in opposition to reductively discursive or conceptual approaches. Gregory is also known for her writings on contemporary art and on art education. A recipient of numerous arts awards and bursaries, she has contributed to the visual arts environment through curation, artistic collaborations, international conferences, and the enhancement of arts programmes, teaching and infrastructure at tertiary level.

Making Learning: The Red House as mirror and window; and creative education as catalyst for social and cultural transformation

Andrew Brewerton
Plymouth College of Art, United Kingdom

In Weiwei-isms, his ‘little black book’ of aphorisms published in 2010, Ai Weiwei makes a fundamental observation of profound interest to ELIA: "Creativity is part of human nature, it can only be untaught.[1]"
This insight was one of many inspirations underpinning Plymouth College of Art (PCA)’s decision to create the Plymouth School of Creative Arts (PSCA), a mainstream city centre 4–16 all-through Free School that fosters learning through making in all subject areas. PSCA was founded in 2013 by PCA, and together we are creating a radical progressive continuum of creative learning and practice from age three to Masters level and beyond, into professional practice. This is a trans-generational pedagogical innovation project and catalyst for community self-transformation in an area of significant social and economic disadvantage in inner-city Plymouth.
Our project rests upon a very simple – you’d have thought, uncontentious – proposition which these days turns out to be a serious heresy. Our contention is that, in education, making is as important as reading & writing or maths & science.
Now it seems that this is a very dangerous idea. Clearly it’s a programme for makers, rather than consumers, of learning. Our parallel project at PCA is thus to create the richest, most diverse ecosystem of materials, technologies, processes, practices, artforms, ideas and cultural influences that you could ever find in the shape of an art college. We are re-investing in materials-based analogue technologies – traditional printmaking, a glass factory – endangered specialist learning environments for making and thinking that have always existed in art schools and, once lost, tend to be gone forever. Environments out of which creative thinking, material intelligence and technical sensibility can of course be migrated into digital, but where it doesn’t always work in the reverse direction.
Our ethos engages the intrinsic motivation of all learners to purposeful learning, which brings me to my second proposition: that the business of learning and that of living your life are inseparable, their mutual purpose being individual, social and professional transformation. Education is a window, not just a mirror, on the world.
Last October to our delight Sir Nicholas Serota, Director of Tate, conducted the formal opening of The Red House He was emphatic, in his public address, as to the significance of the occasion:
"This is an event in the history of education in this country."
My paper will present the ethos and pragmatics of this trans-generational inner-city project.
[1] Ai Weiwei, Weiwei-isms (Princeton University Press, 2012) ISBN-10 0691157669

About Andrew Brewerton

Andrew Brewerton is Principal & Chief Executive of Plymouth College of Art and, since 2000, Honorary Professor of Fine Art at Shanghai University. He is founding Chair of Governors and Director of Trustees of the Plymouth School of Creative Arts, and Vice Chair of GuildHE, one of two formal representative bodies for UK Higher Education. A former Principal of Dartington College of Arts, and Dean of Art & Design at the University of Wolverhampton, Andrew is an English graduate of Cambridge University and from 1984 worked for a decade in glass crystal manufacturing and design. He has held a number of academic and public appointments: at the Università dell’Aquila, Italy; with Professorships at the Universities of Wolverhampton and Plymouth; as a Council member of Arts Council England; and as Vice-Chair of the Prime Minister’s Advisory Group on Higher Education (PMI2). His international work has involved the catalytic development of academic programs at Shanghai University and at Tshwane University of Technology (Pretoria), as well as public art projects in China and the UK. A book-length Chinese monograph on his contribution to Art & Design education in China was published in Shanghai in April 2011. Andrew is the author of more than sixty journal and catalogue essays and books on contemporary art, including extended essays of Chinese artists He Yunchang, Xue Guangchen and Yang Hui-shan. His poetry publications include Via (2010); Raag Leaves for Paresh Chakraborty (2008); and Cade l’uliva (2003). His work is cited in ‘Poetry after 1970’ in The Cambridge History of Twentieth Century English Literature (Cambridge University Press, 2004). An Italian edition of his poetry is due from Edizioni Kolibris (Ferrara) in 2016.

International Project Management Training

Marte Brinkman
European League of Institutes of the Arts (ELIA)
the Netherlands

Open Space
Wednesday 30 November
Venue: IED
16.00-17.30

Abstract

ELIA is developing a hands-on international project management training, specifically tailored towards higher arts education institutions. In this introductory session ELIA addresses the multifaceted skill set necessary to design, develop and manage international projects successfully, as when operating in the lively domain of research and practice in the arts, specific expertise comes into play that goes beyond straight forward project management tools and techniques. It requires the ability to work across a variety of nationalities, cultures, artistic disciplines and fields of expertise, with many objectives and interests to marry and find balance between. And therefore the ability to built and adapt upon various combinations of explicit and tacit knowledge, practical experience and an ethos of partnership, while taking the widely different cultural, social, economic and professional settings from across the globe into account.
In this session we will review the key issues in a nutshell and in dialogue with the audience, establishing a clear and hands-on overview of the elements that should be taken into consideration when developing a well-functioning strategic and operational framework for your international project: the core objective of the training.

About Marte Brinkman

Marte Brinkman has over 10 years of experience with delivering a wide range of strategies, events and programmes in various national and international contexts. Prior to taking on the position of ELIA Conference Manager 3 years ago, she worked for commissioners such as governmental agencies, taskforces and institutions operating in the creative industries, economy, social sciences and technology. She has delivered activity programmes, projects and events across the Netherlands, United Kingdom, Germany, Denmark, South-Africa, Italy, China, Switzerland, Belgium and Poland, as well as developed and written fundraising applications, business plans and policy papers. Marte holds an MA in international cultural policy and management and was born (1985) and raised in the Netherlands.

The Rise of the Creative Entrepreneur: enterprise in the performing arts and the role of higher education arts institutions

Sian Brittain, Marina Papageorgiou
Guildhall School of Music & Drama, United Kingdom

In the UK, several characteristics of our economy, political outlook, and changes in the creative industries are increasingly emphasising the growing significance of entrepreneurship and the development of small businesses for the performing arts sector. At the start of 2013, within arts and culture 90-94% of businesses were SMEs (BIS, 2013b, p. 10) and just over 4% of private sector businesses were in the arts, entertainment and recreation. In addition, the alternative finance market was predicted to grow to £4.4 billion in the UK in 2015 (Baeck, Collins, & Zhang, 2015), having grown 91% from 2012 to 2013, and in 2011-13 providing £463m for start-ups and SMEs (Collins, Swart, & Zhang, 2013). As Sorrell, Roberts & Henley have suggested the UK needs people who are ‘more inquisitive, persistent, imaginative, disciplined and collaborative – essential qualities for the future. The result will be generations of job-creators, not just job-seekers vital for a world of continuous and rapid change’ (2014, p.69).
In response to the critical issues emerging through this fast-changing professional landscape, the Guildhall School created Guildhall Creative Entrepreneurs: an incubator initiative developed in partnership with social enterprise Cause4, aimed at equipping artists with the skills, resources and mind-set to pioneer innovative work and sustainable business models. Since its launch in 2013, Guildhall Creative Entrepreneurs has been supporting the development of a wide range of innovative enterprises: from orchestras to drumming groups; actors developing corporate training to disruptive opera companies; commercial businesses to social enterprises and charities. The Guildhall School aims to grow Guildhall Creative Entrepreneurs, not just in numbers but also in relevance and necessity; to revolutionise creative entrepreneurship in the performing arts, energise the City’s cultural hub and establish worldwide reach.
Arts institutions have a unique and pivotal role to play in supporting its artists
in their ability to adapt to the future challenges that face all of us in a rapidly changing society. In an economic landscape where more artists are working ‘portfolio careers’ the Rise of the Creative Entrepreneur will undoubtedly help drive each of our countries’ economies. Drawing on research findings to date, we will demonstrate that there are important bridges to be built between artistic mind-sets and the fundamentals of sustainable business, and how we are delivering on this. Conservatoire trained performing artists can really lack confidence in their ability to set up a business, and tailored support is much needed in this area.

About Sian Brittain

Sian has worked in the strategic development of small creative businesses and cultural institutions across a range of art forms. She currently manages Enterprise & Entrepreneurship programmes at the Guildhall School of Music & Drama and the Barbican Centre, with the aim of developing long-term sustainable and entrepreneurial organisations. Activity ranges from cutting-edge professional development for creative arts professionals, training programmes for wider business that draws on the skills of the performing arts, and short courses and summer schools.
Sian's previous employment includes four years as Project Manager for CreateKX, the strategic agency supporting creative industries and artists in Kings Cross during the recent massive regeneration of the area. CreateKX worked to establish the area as a destination and knowledge hub, through business support programmes, arts funding provision and large-scale events.

About Marina Papageorgiou

Marina is Enterprise Coordinator at the Guildhall School of Music & Drama, where she supports the growth of programmes promoting innovation and entrepreneurship development at the School. She holds degrees in Music and Anthropology and is passionate about engaging with initiatives driving research and innovation on the convergence of the arts, education and the creative economy.

Butler, John

Professor John Butler is the Chief Executive Officer (CEO) of EQ-Arts and Emeritus Professor Birmingham City University, where he was the Head of Birmingham School of Art. Butler is an artist and Past President of the European League of Institutes of the Arts (ELIA) 2000-2004, when he established ELIA as the EC Thematic Network for the Arts which was the forerunner of EQ-Arts.

Carli, Anna

ISTITUTO SUPERIORE DI STUDI MUSICALI "RINALDO FRANCI"

Abstract - The educational innovation in music and social fallout - The sense of learning music

- Practicing an instrument: skills and dedication
- Concentration, listening to others and to ourselves: new border of didactic
- Creativity and recreation
- Same opportunities to develop different skills
- Mozart, Beethoven and a new citizenship

Cazorla Arévalo, Bartolomé Antonio

Abstract

The 90's digital revolution has changed the way we interact and how we have access to the world. The immediacy and the amount of information we receive everyday has built a world where everything digital has been constituted as a comunitary space which is determinant to our daily behaviour. We outline that maybe the key to end a unique thinking, typical of a mass media culture would be to enrich those new logics of the digital field with experiences different to the ordinary, an experience in which the individuals can free themselves from the determining levels set by the media to generate a new space for thought, not necessarily a digital one, in which artistic practice has a relevant role.
We present as a case study inside the frame of the exhibition El arte y su doble (Madrid, 1987) curated by Dan Cameron where we can analyze some of the pre-digital problems of renowned artists such as Jeff Koons, Barbara Kruger, Cindy Sherman, among others, under the curator's work, which influence in a great way the different current artistic languages. The consequences of that exhibition in a pre-digital world and how it set the conceptual basis of some of the current artistic languages will be analyzed.

Bio

Author: Bartolomé Antonio Cazorla Arévalo, Spain, 1990. University of Granada Philosophy Graduate (2009 -2014) Current: MA in Art Production and Research at University of Granada Curator of Zizek was Here! (Granada, 2015)

Arts Institutions and Aesthetic Education

Recent concerns over the role and funding of higher education have focused attention on its intrinsic value, with the debate regarding societal contribution often centered on solely quantifiable and measurable benefits. This has been coupled with some arguably detrimental side-effects, including: the increasing marketization of higher education through the introduction of student fees, resulting in the ubiquity of the notion of consumer satisfaction; an increasing accountability framework that similarly promotes consumerism through the guise of the protection of public money; a fundamental change in the relationship between institution, teacher and learner; reductions in teaching grants and the promotion of ‘best practice’ themes within learning and teaching; a focus on recruitment and income generation from research activity.
These factors have all contributed to the construction of the now dominant idea within higher education that the university subscribes to a mode of production that exists to contribute to a knowledge economy, coupled with a political emphasis on the essential utility of knowledge. And much of these trends have crossed over from the large cross-faculty higher education institution to the conservatoire and the art school in general. But given the inherent reductionism implied by these same trends, not surprisingly they have come recently under sustained critical scrutiny, using approaches from a range of historical, sociological, philosophical, political and pedagogical perspectives. This paper will bring the conservatoire context squarely into dialogue with this recent critical pedagogical literature, with a view to reimagining the function of arts education, and specialist arts education in general, in society. We argue that if allowed to fulfill its critical and creative potential, a specialist arts education has a unique, perhaps autonomous role to play in resisting the conformity, inequality and inevitability of the effects on individuals of globalized economies. Using approaches variously from phenomenology, philosophy of education and postcolonial theory, the paper will stress the social, transformational and ethical benefits of the arts, situating them firmly in community contexts.

About Jonathan Owen Clarke

Jonathan Owen Clark is an artist and academic who has published widely in: philosophical aesthetics; intellectual history and historiography; cultural and critical theory; performance studies. He is currently Head of Research at Trinity Laban Conservatoire of Music and Dance where he leads a doctoral research programme in aesthetics and creative practice. He worked previously at Brunel University and at the International Centre for Music Studies, University of Newcastle-upon-Tyne. He is also an active composer and sound artist, and serves on the committee for the Society for European Philosophy.

About Louise Jackson

Louise Jackson has recently completed her PhD at the University of Exeter, in which she researched neoliberalism and the current situation of higher education through the lens of widening participation. Professionally, she joined Trinity Laban Conservatoire of Music and Dance in 2012 as Head of Learning Enhancement. Previously she worked as a Senior Lecturer and Academic Development Coordinator teaching across Music and Musical Theatre programmes at the University of Chichester. In 2013 Louise was awarded a National Teaching Fellowship by the Higher Education Academy, the most prestigious award for teaching excellence in the UK.
Other areas of interest in research and teaching include gender and music; interdisciplinary collaboration in composition teaching with a focus on composition for contemporary dance; radical pedagogy in teaching histories of music; Widening Participation in the Arts. Louise has been actively involved in school and college liaison, working with schools, colleges and other institutions to advise on curriculum and pedagogy within the performing arts and also using music as a tool within other subject areas such as medicine. With undergraduate students Louise has investigated the affect of role modelling on undergraduate success in study through their participation in outreach work.

Crabtree, Paula

Paula Crabtree currently holds the position as Vice Chancellor at Stockholm University of the Arts. Prior to this she was Rector at Bergen Academy of Art and Design (KHiB) in Norway (2010 - 2014) and before that Dean at the Dept. of Fine Art also at KHiB (2002 - 2010). Crabtree is an artist and anthropologist.
Crabtree has been a member of the ELIA executive board since 2010 and Vice President since 2012, has been actively involved in European projects was co-artistic director for NEU/NOW Festivals.
Between 2009 and 2015 Crabtree was a member of the Austrian Advisory Board of the Programme for Arts-based Research (PEEK) - part of the Austrian Science Fund (FWF). From 2016 she is a member of the Evaluation Panel for the Swiss University Programme for collaborative doctorates.

Darnley, Jo

MANCHESTER METROPOLITAN UNIVERSITY

Open Space
Wednesday 30 November
Venue: IED
14.00-15.30

A window facilitates the act of looking from the outside to the inside and from the inside to the outside. The historical and contemporary reader of Woman’s Outlook can be viewed as outside of the magazine, looking upon a mirror, their image reflected back onto themselves. However, Woman’s Outlook becomes a window as the reader actively engages with its content by entering into a cooperative act of conversation and idea generation. This critical reading and discussion, fragments and transforms Woman’s Outlook from a metaphorical mirror to a transparent window of insights. This critical engagement provides participants with the possibility to view alternative landscapes through Woman’s Outlook.
Jo Darnley’s research into Woman’s Outlook, (1919 – 1967), examines the complexity of gender ideology in the interwar co-operative movement. A consumer based movement with democratic principles is explored through the dynamics of women’s everyday engagement with its visual and material culture. Gemma Meek’s research about socially engaged book art (1990 – present day) conceives a definition and method of reading books that are created in an artistic and cooperative way, often with a social purpose in mind. Darnley & Meek’s work connects through the method of subjectively interpreting objects and printed materials that are created collaboratively, but traditionally critiqued through the perspective of the individual, lone researcher. Working as collaborators, a multi-vocal approach offers dynamic opportunities for reading images and texts in Woman’s Outlook that may not be considered by the single researcher.

Workshop
The collaborative workshop will expand this multi-vocal approach by encouraging participants’ to select, respond and transform imagery from Woman’s Outlook magazine. Through embodied readings and open discussion participants engage with pages from Woman’s Outlook. The diverse responses will highlight the limitations of meaning creation that occur when the historian researches as an individual. This multi-vocal approach to artistic research is a move towards transforming society. Through critical and creative everyday reading and awareness, perceptions can be disrupted.
Participants are invited to ‘play’ and investigate through the decoration, marking, signing, cutting and alteration of an acetate window as a response to the discussions and readings of ‘Woman’s Outlook’. These windows will be collated towards the end of the session into a book. Each window represents a page and forms further readings through the book’s transparency. This new space, in which to map connections, disrupts the singular reading of the authoritative historian and fragments the metaphorical mirror represented by ‘Woman’s Outlook’.

Bio

Jo Darnley PhD researcher MIRIAD/ESRI, Manchester Metropolitan University Jo Darnley is in the first year of an AHRC Collaborative Doctoral Award an innovative partnership between MIRIAD, the Education and Social Research Institute at Manchester Metropolitan University (MMU), and the National Cooperative Archive, (NCA). Primarily her research seeks to enrich historical analysis of the co-operative movement by exploring its cultural and educational importance in communities in interwar Britain, a key period of change, politically, culturally and economically. The complexity of gender ideology in a consumer based movement with democratic principles will be examined through the dynamics of women’s everyday engagement and through its visual and material culture. It will examine the extent to which the co-operative movement provided a space in which women could articulate their identities and concerns, using gender as a medium through which to encourage contemporary audiences to engage with the archive.

A researcher on the AHRC PGR ‘Creating Our Future Histories’ (COFH) Programme 2014–15 (MMU), I participated in extensive interdisciplinary and Public Engagement training. Jo investigated, co-designed and carried out oral history interviews with STRIDE, a boys’ dance initiative, to co-create their legacy co-developing a pop-up exhibition at the People’s History Museum, Manchester.

An experienced Primary School Teacher Jo nurtures children’s learning experiences through creativity, selfexpression and investigative processes using a ‘hands-on’ approach. As a Community Dance Practitioner (2010 onwards) Jo delivers language/creative dance movement workshops, developing and publishing her own website www.dialoguedance.co.uk.

Sensing Behind the Mirror

Peter De Cupere
School of Arts /PXl-MAD, Belgium

By applying and focusing on various senses, Peter de Cupere’s art has been trying to ‘turn mirrors into windows’ right from the start.
Traditionally, most art (and most of the art education) is focusing on the senses of watching and hearing. Visual arts and music are being experienced with the eyes or ears only, resulting in a rather one-dimensional perception, accompanied by an intellectual interpretation of what is seen/presented by the artist. Too often, watching art may be compared to a quick glance in a mirror, seeking confirmation of a more or less expected image.
Looking through a window implies that both artist and public expect the unexpected and are open to new views, thoughts, experiences. By applying more senses like smell, taste, touch and this way enriching the context, art will automatically appeal to more senses. Thrilled by various sensations, the public starts ‘looking’ behind the traditional mirror. Experiencing art contrary to e.g. watching art becomes a multi-sensorial experience. The artist is communicating on a multi-layered level ; his art combines richer content and meaning with the ambition to stir various emotions with the public. The spectator is being invited to look behind the mirror, to look through a much wider window.
In Peter de Cupere’s vision, this is what contemporary art should strive for: a multi-sensorial mirror will become an open window to the world and improve the interaction between artist and spectator, easier transcending cultures and societies.
In both his art and his academic courses, Peter de Cupere has always been aiming at inviting students, artists and spectators to experience a multi-sensual reflection when creating or sensing (in stead of merely watching) art.
In his lecture he will explain how e.g. scent can add context to art, thus turning traditional mirrors into windows. He will not only elaborate on his own art practice, but focus on how this can be implemented in (academic) art education, based upon his experience as professor-coordinator of various courses at School of Arts/PXL-MAD in Hasselt (BE).

About Peter de Cupere

Peter de Cupere, (Leuven, BE, 1970) is a pioneer in ‘olfactory art’ with an artistic practice of more than 17 years. At the School of Arts/PXL-MAD in Hasselt (BE), he is responsible for the Dutch language ‘Media Lab’ and Master Studio ‘Art Vision Lab’. From 2016-2017 onwards, Peter de Cupere will coordinate a new English Master in Visual Arts, unique in the world by focussing on the education of lower senses and how to use these to fuel artistic work with added context. He is currently a doctoral student at PXL-MAD, UHasselt and VUB (Brussels). For his PhD-thesis, titled ‘When Scent Makes Seeing, When Seeing Makes Scents’, Peter de Cupere is researching the use of scent as a context and/or concept for art.
Peter de Cupere is widely known for his works with scents. In 2015 he took part in 27 exhibitions and art projects, e.g. Cuba (Biennial of Havana), UK (East Wing Biennial-London), Argentina, Brazil, Switzerland, Germany, The Netherlands, Italy and Belgium. He is a member of the jury at the Art & Olfaction Awards in Los Angeles. Among his most well-known realizations are the ‘Olfactiano’, the first scent piano, the ‘Olfacio’, the first smell recognition app developed in collaboration with Cartamundi and a ‘blind smell stick’ to guide blind people by scents. In 2015 Peter de Cupere founded ‘The Olfactory’, an organisation to promote the use of scent in art. He has also curated ‘The Smell of War’ in Poperinge (BE), an exhibition remembering the first gas attacks in the Great War.
His art, subject of an article in NYT (7th April 2015), has a close connection with scientific research, is questioning actual topics like air pollution and does invite the viewers to reflect upon their own smell perception.

Nancy de Freitas
Auckland University of Technology, New Zealand

This paper reflects on some characteristics of artistic education in an age of stimulated intercultural exchange and outreach. Globally, artistic invention and performance is now dominated by international movements and unrestrained cultural blending. It is called diversity. It is assumed to be a good thing. Unique local/regional artistic traditions and singular artistic communities are increasingly undermined by such open access and easy exposure. This is assumed to be a bad thing. Technological advancements and digital tools now have almost immediate impact all across the globe. Large-scale movement of human beings following economic opportunities or fleeing from suffering in their native land adds further to the disruption of cultural and artistic customs. Within the academies, increased diversity of student backgrounds and prior education impact on the dynamic of finding and performing the ‘artistic self’. This is an increasingly fraught prospect for students. Many versions of western/nonwestern contradictions play out in educational and professional contexts. These varieties of ‘us and them’ can be recognised in approaches to and rejection of technological advancement, in ethical and moral approaches to the design of material and social artefacts, in philosophical orientations to social entrepreneurship, and in attitudes to contemporary political and economic contingencies. There are positive effects and also pressures and difficulties associated with working in blended-culture, internationalised aesthetic environments. Some students flounder while others reject institutional expectations in this globalised context. Furthermore, the relatively new academic development of ‘artistic research’ and associated doctoral degrees is becoming a dominant site of cultural influence that will have an increasing, on-going effect reshaping our world. Artistic ideas and cultural texts are increasingly performed and written with the expectation that they can be applied universally. Moreover, critical texts and artistic research reports are produced increasingly in English and disseminated digitally across seamless institutional and national boundaries. All of this fluidity and blending, encouraged by open-access to institutions, financial partnerships and trans-national agreements, is supported by widespread use of digital media offering immediate access. In this paper, I reflect on key contemporary conditions that need to be addressed within our institutions in order to adapt into the future, making strategic use of these challenges and opportunities.

About Nancy De Freitas

Nancy de Freitas is an artist and academic based at Auckland University of Technology in New Zealand. Her research interests include: the form and language of research reporting; active documentation as a research method, 'material thinking' approaches and professional education models for the design, creative and cultural sectors. She has lectured widely on art and design research practice and material thinking method at host institutions in the United States, Canada, Australia, the United Kingdom, the Netherlands, Sweden, Norway and Finland. Her own installation works have been exhibited in solo and group exhibitions in Canada, Australia and New Zealand. Conceptually, this work has been grounded in an awareness of immigrant sensitivities and a notion of exile.
Philosophically, she explores the human condition in which cultural material such as tradition, memory and identity are preserved, reconstructed, questioned and sometimes discarded as markers of individuality. Her work reveals a broadly felt desire to understand what it means to belong, to have a sense of home and in particular, to understand how memory and forgetting affect this process. In 2012 de Freitas received a Fulbright Travel Award in support of an invitational speaking tour in the USA on the topic ‘Moving Artistic Research Beyond Practice-Led Explanations’.
She is currently Editor-in-Chief of the international journal ‘Studies in Material Thinking’.

Dean, Anthony

Professor Anthony Dean is currently professor of performing arts and Dean of Cultural Engagement at the University of Winchester having recently retired from his role as Dean of Faculty of Arts. Prior to Winchester, he was Head of Department at the Royal Central School of Speech and Drama and, therefore, has a good understanding of Higher Arts Education in both the university and conservatoire sectors. Anthony has significant experience in quality assurance as both a peer reviewer and a consultant. He has worked extensively both within the UK and across Europe in quality assurance, quality enhancement, programme validation and institutional accreditation. He participated in the original UK Subject Benchmarking process (Art & Design) and the process of developing the European Tuning Documents (Theatre). He is also a co-artistic director of the NEU NOW Festival.

Know yourself to make a new hospitality

Mirrors show us our reflection, allow us to understand better ourselves, how we look like and how people see us; but more than one mirror is needed to reflect the real tridimensional complexity of ourselves, and more, how do we show to the others our identity? The possibility of knowing better our tangible and intangible way of being is crucial in the communication of our own identity - it is due to remember the ICOMOS Charter for the Interpretation and Presentation of Cultural Heritage Sites (also called Ename Charter 2008) - and to open a dialogue with others that differs from us to give a contribution to the UNESCO Conventions 2003 (Safeguarding of the Intangible Cultural Heritage) and 2005 (Protection and Promotion of the Diversity of Cultural Expressions).
Life Beyond Tourism is the philosophy born from the activity that the Fondazione Romualdo Del Bianco - dedicated to the rapprochement of cultures since 1991 - is creating, experimenting and implementing. Cultural heritage, both tangible and intangible, is an opportunity of immeasurable importance to grasp the attention of masses in order to let them exercise Intercultural Dialogue. To activate this exercise it is fundamental that each community is aware of its identity and is able to communicate it. Each community, communicating properly its own culture is able to open the windows and the doors to dialogue. To put into practice this dialogue people should be enabled to appreciate the context, the size and the whole process that creates a cultural expression. The proper communication of this process makes possible a better understanding of the cultural expression through the awareness of the difficulties to know and really understand the cultural heritage. This awareness leads to the respect for diversity.
Life Beyond Tourism is a way of opening the doors of hospitality in the mind of the traveller and of the resident. The Foundation believes in travel as a crucial tool for the development of territories. Forecasts on tourism clearly show how important is this economy. The world needs to transform the power and capillarity of the tourism economy in a new form of hospitality that makes possible a greater awareness of cultural diversity and a consequent mutual respect – the essential basis for peace in a world that is moving towards 10 billion inhabitants.
In time Life Beyond Tourism has been developed as a model for the sustainable development of territories through tourism with a conscious promotion, communication and interpretation of them.

About Corinna del Bianco

Corinna Del Bianco Florence, 1986 - Board member for the international relationships of the Fondazione Romualdo Del Bianco and part of Life Beyond Tourism project since its beginning, is dedicated to the involvement of youngsters through several activities. Among the many are remembered the Florence Youth and Heritage Festival, official side event of the ICOMOS General Assembly 2014, photo contests and courses on the topics of Life Beyond Tourism. For these courses has been appointed Assistant Professor at Josai International University, Tokyo, where she held the first intensive course in September 2015. Graduated in architecture at the Politecnico di Milano supervisor Stefano Boeri with a thesis on informal settlements in Sao Paulo, she is now PhD student in Pianificazione Architettonica, Urbana e degli Interni, with a research on strategies for developing territories. Since 2015 she is tutor at the Politecnico di Milano of the course Urban Design for Development – master degree in architecture - since 2012 she has lectured at several institutions and cultural and educational organizations (Associação Mutirão do Povres - San Paolo, Politecnico di Milano, Hong Kong University, Fondazione Romualdo Del Bianco – Firenze) in the topic of informal settlements. Beside the educational and teaching activity, since 2009 she has collaborated with various Italians and international architectural offices (CROS Architecture – Parigi, MDU Architetti – Prato, Stefano Gambacciani Architetto – Florence, Stefano Boeri Architetti – Milan, Buro-Ole Scheeren – Beijing).

Shifted Certitudes

Francois Duconseille
HEAR Strasbourg, France

"Turn mirrors into windows"
What does this enigmatic sentence mean?
How do we see ourselves in other contexts?
How does the experience of non-Western contexts transform our self-perception and push us to reconsider our certitudes and self-sufficient positions ?

From 2003 to 2010 a partnership process was developed between the two art schools of Strasbourg and Kinshasa. This intense ‘close connexion’ questioned and transformed deeply the teachers and students involved in it and by extension both schools. This 7-year project was a ‘non-ending’ circulation from one place to the other and vice versa, involving around 30 teachers and 50 students (both schools); workshops, exhibitions, shared courses for students including an essential dimension of graduation, exhibitions and events were the various formats of this relation.
The process was clearly experimental and shifted all participants from their established position and practice. We were constantly discovering the fact that our stories, on both sides, were shaping our point of view. We were facing our atavisms. We constantly had to be aware of the obstacles on the way in order to keep the quality and possibility of the relation, increase and preserve it, and to create a common space.
For us, French teachers and students, this process often perceived as an « adventure », was interestingly challenging and pushed us to look back to our colonial history and to become aware of the ongoing asymetrical relation resulting of it. Crucial in the perspective of the world to come.

About Francois Duconseille

Visual artist, scenographer, founder in 2000 of ScU2 and of the Urban Scenos project with Jean-Christophe Lanquetin.
Formed at the National Theatre of Strasburg, François Duconseille works for theater, exhibitions, television and develops an individual career as a visual artist (Biennale de Paris, Fondation Cartier, numerous exhibitions in galleries and Art Centre in France and abroad). He funded and runs with Jean-Christophe Lanquetin the department of scenography of the HEAR art school of Strasbourg. They hold there together the partnership with the Art School of Kinshasa and later the research program in art Play>Urban with the WITS School of Arts of Johannesburg.www.play-urban.orgwww.urbanscenos.org

Ebert, Lars

ELIA - European League of Institutes of the Arts

Open Space
Wednesday 30 November
Venue: IED
Time: 14.00-15.30

Abstract - European Academy of Participation

The session will provide information about the EU Strategic Partnership European Academy of Participation and discuss its first milestone outcome, the Tuning Document Participatory Art Practice. This broad benchmarking document will be illustrated by an exemplary new post-graduate module developed within the project as a low residency intensive course ‘Creative Producer’. Its innovative potential lies in its delivery in a creative partnership, in its approach to horizontal knowledge transfer and its critical link to current political agendas. It includes reflection on the problematic term of “participation”, but also notions of social inclusion, democratic representation and artistic responsibility. The Sinopale 2017 as a laboratory life learning environment for the European Academy of Participation will present outcomes and insights.

BIO

Lars Ebert (Heidelberg, Germany, 1976) is Head of Research, Development and Advocacy at ELIA – The European League of Institutes of the Arts. In this capacity he advises and advocates ELIA members in questions related to the development of and engagement in the European Higher Education Area.
In his previous positions within ELIA he was concerned with the implications of the Bologna process and -more broadly- internationalisation in higher arts education. He has chaired the working group ‘theatre/dance’ drafting the Sectoral Qualifications Framework for Creative and Performing Disciplines (2011-12) on behalf of Tuning Educational Structures in Europe following up on his engagement in various EU funded LLP projects such as artsnet.europe (ELIA, 2007-2011). Currently he represents ELIA in various projects such as CulturalBase. Social Platform on Cultural Heritage and European Identities in the framework of the Horizon 2020 programme or the Erasmus+ strategic partnership European Academy of Participation.

Lars is a founding board member of EQ-Arts, the ELIA initiated sectoral quality assurance agency for higher arts education across Europe. He is an experienced reviewer for various national accreditation agencies and a trainer for QA reviewers.

Lars holds a degree in theology (Drs./NL). He is the programme co-ordinator of the cultural centre Castrum Peregrini in Amsterdam and a permanent fellow of the Vienna Conversations at the Bruno Kreisky Forum for International Dialogue.

Evans, Mark

Coventry University, Faculty of Arts and Humanities

Abstract - 'Bringing the Outside In: Masters study in collaboration with international company Frantic Assembly'

The presentation will outline and analyse the development and first year of operation of an innovative new masters programme in collaboration with Frantic Assembly theatre company (www.franticassembly.co.uk/macollabtheatre/). This masters programme (MA in Collaborative Theatre Making in association with Frantic Assembly), run by Coventry University, has been designed to provide a unique opportunity for students to learn and train through an industry-facing experience with an innovative and award-winning international theatre company. The course combines intensive practical training and making sessions with online and distance learning using new digital technologies. The emphasis of the course is on collaboration and empowerment. This process starts through movement work and through learning and exploring through action.
The presentation will examine the specific value that has come from collaborating with an innovative physical theatre company such as Frantic Assembly. It will examine the nature of the challenges for both the company and the University, and the success of the course in addressing the wider external challenges that face contemporary performers – how can we best collaborate together, what specific global challenges can physical performance best respond to, how can learning better interface with doing through blending practical and online learning environments. The paper will make use of interviews with current students and staff, as well as with the key
members of Frantic Assembly and with other key industry figures within the UK theatre sector. The presentation will include examples of online teaching and learning. Videos of student work will be used as examples for more detailed analysis of the significance of the course design and delivery. Strands within the course allow the students to focus on final projects that emphasise the making of collaborative theatre performance, the use of collaborative physical theatre making within educational or applied social contexts (such as working with disadvantaged or socially
excluded communities, or within diverse sectors of the population), or academic reflection and analysis of the processes and practices involved.
The presentation will conclude with a critical analysis of the significance of this course. Questions raised for discussion will focus on the extent to which new models are required if we are to provide learning opportunities for students that will truly empower them to address the challenges and opportunities facing them in their future.

BIO

Mark Evans is Professor of Theatre Training and Associate Dean in the Faculty of Arts and Humanities at Coventry University. He researches actor training and theatre education. He has published books on movement training for actors, Jacques Copeau, Jacques Lecoq and recently edited 'The Actor Training Reader' (Routledge, 2015) and coedited 'The Routledge Companion to Jacques Lecoq' (Routledge, forthcoming in 2016). He is an Associate Editor for the 'Theatre, Dance and Performer Training' journal published by Routledge.

Is it a bird? A plane? It is Arts education! Homo ludens in the 21st Century: towards a ludic approach in Art education.

Imara Felkers
HKU University of the Arts Utrecht, Netherlands

“A good school (read: academic) leads to a society that is not there yet.”
This phrase from the German philosopher Sloterdijk is many-sided. For certain it integrates a transitional state of a society. With its ‘technological evolution, globalisation and open border policies’ we ought to say that our society finds itself in a liminal space. Distinguished Research Professor Mihai Spariosu confirms this conclusion from a cultural-theoretical approach.
Play is also a form of liminality, he states. Play is a perpetual process of setting and resetting limits. Play is, like reality, both real and unreal. Men can dream, plan, think, fantasize; but whatever arises in the human imagination may be actualized at some juncture in human history. HKU Design is converting this viewpoint into educational innovation.
Explaining the affiliation between play, art and the awareness of reality requires according to HKU Design more than just a theoretical frame. To become imbued with this awareness is about embodiment. Viewed in this light a playground is born where there is an interlocking of liminal space and imaginary places; where questions like ‘what if mirrors turn into windows?’ can be addressed. HKU Design emphasizes in this educational development the viewpoint that if reality is constantly changing and always interwoven with conventions and expectations, then play
comes closer to reality than reality itself.
This implies that art students must be equipped with ‘play skills’. In order to accomplish this, students starts, inspired by John Cage, by writing their Manifesto and from this build their player profile. With this input they develop awareness about the ambiguity of reality and their possible role(s) in it as an artist. Drawn from theories of classic scholars Johan Huizinga and Roger Caillois and also contemporary scholars like Spariosu and game designers.
Hence in this approach art students can experience the ambiguity of themselves, society and reality from their artistry and it opens new teaching opportunities in art education.

About Imara Felkers

Imara Felkers is Lecturer in Philosophy at the HKU University of the Arts Utrecht. Together with fine artist and game developer Eva den Heijer they developing on behalf of HKU crossover teaching methods in the field of play, art and game design for students as for colleague lectures as well.
Imara has written and published on philosophy issues related to sport, play and art. Among the published works is the contribution to the book Philosophical Perspectives on Play with the chapter Homo Ludens in the twenty-first century: towards an understanding of Caillois’ paidia (Routledge 2015) together with Ellen Mulder and Malcolm MacLean (University of Gloucestershire).

Design 1o1: from Mirror to Windows

Fosca Salvi
Abadir Academy of Design an Fine Arts, Italy

“Magic mirror on the wall,
who’s the fairest of them all?”
“Good morning Dear!
Nice to see you here!
I’ve been thinking about your last post / homework on Instagram…
It truly activated some matter inside of me: good job!
Did you see what your friend @just_slow_down_laurie made / posted?
Very interesting + made me think of you…
:-)
Then, what else could I say?
#ManRay is your man for today!
:-)
Kisskiss / Lovelove
Sincerely yours,
Magic Mirror”
---
While mirrors reflect, windows offer a taste of the “other side”.
Design 1o1 always makes sure to do both!
Design 1o1 is an experiment within the world of online / offline education, design and new (and social) media.
Using the mirror metaphor, Design 1o1 is a place in which you find your own reflection. It is a place made “of” and especially “by” people like you.
In fact, Design 1o1 is a community of people “like you” from all over the world (of all ages, cultures and backgrounds) who learn together by “doing and sharing” things through a common and simple vocabulary (to facilitate and encourage flows), who travel while exchanging important references and fascinating pieces of content (from the past to the present). Furthermore (and most importantly), in the Design 1o1 universe, people “like you” are at the center of it all and the ones guiding the whole adventure.
For instance, to follow the Design 1o1 “way of doing things”, this Pecha Kucha presentation for ELIA Biennial Conference is ideated, designed and prepared by the Design 1o1 Crew.
On the other hand, Design 1o1 acts as a window. Actually, it acts as an infinite series of windows framing an infinite series of worlds, all of them to be discovered (if one feels like it).
In fact, Design 1o1 understands that there is a broad variety of inter-connected worlds and people out in the designrelated universe. For this reason, it does not offer any strict, linear or “top-down” curriculum to it’s community, but encourages its educational “transfers” to follow more horizontal and rhizomic flows. In a variety of windows we trust!
A variety of windows we are!
Regarding the ELIA Biennial Conference, here are the 2 goals we have set for ourselves:
1. to reflect our audience
2. to let our audience see through our “other sides”…
An exciting challenge we hope to be given the opportunity to accomplish!

Gregory, Nuala

Abstract - NICAI: Art and Arts Education in a changing world

The presentation focuses on three cases studies that together illustrate the ensemble of approaches undertaken at NICAI. Drawing on various NICAI disciplines, the studies range from engagement with the culture of indigenous people, to strategic arts projects in zones of conflict, to preparing students for creative participation in the new world of global media and technology. All three reflect the overall vision of NICAI in building a community of enquiry that explores contemporary issues in a national and international context.
The first study deals with strategic support for the tertiary education of Maori and Pacific students in New Zealand. It includes initiatives directed towards wider understanding and engagement with indigenous language and tradition, combined with culturally appropriate forms of support for the education of individual students, with emphasis on their personal development and wellbeing. This represents a holistic approach to education rooted in the person and the cultural environment, equipping students with the confidence and skills to embrace a changing world of new possibilities.
The second study is focused on the strategic role of dance education in international zones of conflict from the Middle East to the Baltic states. Research undertaken by NICAI Dance Studies asks how participation in the art of dance might assist people to negotiate contemporary crises born of complex questions of history and identity. Specific projects have involved the role of women in their society, affected by notions of modernity, the stresses of war and politics, and the impact of enforced migration and the plight of refugees. Again, the study reveals the role of art and creativity in the building of personal and communal identities in a rapidly changing and often overwhelming world.
The third study takes yet another approach, this time tracking the progress of a recent graduate from NICAI Fine Arts. It shows how a young artist can be equipped to embrace new media and technologies, and to make interventions that question their impact on the interconnected realms of lifestyles, communications, economics and politics. Whether this rapidly changing world appears exhilarating, baffling, or threatening will depend on the student’s level of understanding and the depth of the skills acquired through a well-planned contemporary curriculum. All three studies build on a common platform within NICAI that has supported many other projects of international standing, dealing with contemporary urban forms, public art, and the role of art in a time of change.

BIO

Nuala Gregory is an exhibiting artist in the mediums of painting, printmaking, sculpture and drawing. Her work has been shown in Ireland, the USA, New Zealand, Mexico, China and Japan. In recent exhibitions, she has sought a ‘return’ to the possibilities of colour, surface, drawing and collage in order to renew the force of the material and the aesthetic in art, in opposition to reductively discursive or conceptual approaches. Gregory is also known for her writings on contemporary art and on art education. A recipient of numerous arts awards and bursaries, she has contributed to the visual arts environment through curation, artistic collaborations, international conferences, and the enhancement of arts programmes, teaching and infrastructure at tertiary level.

The discovery of the body, didactics for a dance in movement

Since 1986 the Scuola Paolo Grassi has stood out nationally and internationally as a forge of actors, directors, playwrights and theatre professionals. In Italy it is the only institutional course (now about to become a university course), aimed at training and professionalization of contemporary choreographers, performers and dancers. Thanks to the program guidelines devised by journalist and expert Marinella Guatterini, the training path has continuously evolved in line with the trends and needs of the languages of dance-theatre by proposing a path of discovery of the body without barriers between movement, dance, use of the voice, word, breath, action.
The Course is structured on the model of the great European schools and is articulated in technical disciplines (classical and contemporary dance, Laban method, release, contact improvisation, acrobatics, vocal techniques, anatomy applied to dance, Feldenkreis) and theoretical-aesthetic teachings (history and aesthetics of dance, music, visual arts, theatre). In addition to following these core disciplines, students are also encouraged to present their creative results and develop them with the help of tutors.
The space left for personal creativity and collaboration with students of the other courses of the School accompanies and broadens the possibilities of growth of the students, under the constant supervision of international and Italian masters, choreographers and directors, and dance recitals allow the young talents to improve their skills and have a direct contact with audience.
Over the years the School and the professionals involved in teaching have succeeded in creating a fruitful relationship with several important festivals that have presented the School productions giving students the opportunity to experience the world of professional dance. These connections have allowed and continue to facilitate the entry of students into the working world. Among the festivals: “Oriente Occidente” (Rovereto), “Bolzano Danza”, “MilanoOltre”, “Adda Danza”, “Mittelfest”, “Civitanova Marche in Danza”, “Torinodanza”, “Fabbrica Europa”(Florence), “Festival Monteverdi” of Teatro Ponchielli (Cremona), Venice “Dance Biennale” etc.
Over time guests of the Teatrodanza Course have been, among others: Susanne Linke, Ismael Ivo, Reinhild Hoffmann, Lucinda Childs, Emio Greco, Cesc Gelabert, Yasmeen Godder, Shen Wei, Sang Jijia, Alain Platel e Les Ballet C de la B, Chaterine Divèrres; Trisha Brown, Jonah Bokaer, Marco Baliani, Luca Veggetti, Michele Di Stefano, Silvana Barbarini, Enzo Cosimi.

About Marinella Guatterini

Essayist and critic ("Il Sole 24 Ore-Domenica", "Famiglia Cristiana"), Marinella Guatterini is Professor of Aesthetics at the School of Dance "Paolo Grassi" in Milan, where, since 1992, is responsible for the activities of the Course of Dance Theatre. Since 1997 she writes the programs for the ballet of Teatro alla Scala and she is the author of numerous essays and texts, including “L’ABC del balletto” (sixth edition) and “L’ABC della danza - History, techniques, the great choreographers of modern and contemporary art scene” (Mondadori). Twenty years after the five-year long Neoclassical Project (1990-1995), in 2011, she launched the project RIC.CI. Reconstruction Italian
Contemporary Choreography years 80'/90', that is dedicated to the historical memory of Italian choreography and its reconstruction.

Hall, Christopher

sheffield Hallam University

Abstract - A Force For Good

‘As intelligent and responsible filmmakers, working in a free society, we have a duty to ensure that our chosen medium is a force for good. Especially in this ever-more complex and difficult world.’(Puttnam 2005)
In our daily working life how much do we, as makers and educators, aspire to David Puttnams’ ideal? What are our ethical responsibilities as makers and educators and how much should we embed concepts of ethical and responsible consumption and production in the media production curriculum?
Should we be questioning the provenance of our production equipment and the way in which redundant technology is disposed of?
An exploration of these provocative the questions and an examination of the reasons that lie behind the issues raised and how we can begin to engender change.
Drawing from a kaleidoscope of sources and research, this tells challenging stories behind the origin of the minerals in our circuit boards, the use of water in lens manufacture, the working conditions of the people who assemble our computers and the lifestyles of the children in developing countries who recycle our out-of-date stuff.
Challenging questions for difficult times.
‘I think the economic logic behind dumping a load of toxic waste in the lowest wage country is impeccable.’(Lawrence Summers, Chief Economist , World Bank, 1991)

BIO

Christopher Hall is an award winning Senior Lecturer and filmmaker, teaches editing at Sheffield Hallam University, has over 100 broadcast television credits and has spoken internationally about his research and practice.

theweb.printing()

Loic Horellou
Haute ecole des arts du Rhin (HEAR), France

This presentation is an attempt to consider the convergence between web and print media through processes of practical experimentations. How the same information – sometimes massive – can be used simultaneously on line and in print? How to set workflows that can meet such a requirement? How to design information in a traditional book form through coding and scripting? This also addresses the issues of how to teach new and converging fields and media that are expanding incredibly fast and where much has still to be invented.
The presentation is based on examples of student's projects resulting from the following semester-long assignment,given to Bachelor's students:
“We currently live in a period of strong convergence between printed and digital media. The commercial softwares that where originally intended for laying out printed material (Quark XPress, Adobe InDesign) now offer increasingly large possibilities for designing digital projects (websites, digital publications, interactive slideshows….). On the other hand, the web programming languages take into account a wider variety of outputs (computers, mobile devices, digital readers, digital and traditional printing press).
From a subject close to the student's interests, the goal of this assignment is to design an editorial printed project based on the recovery of a consistent corpus of texts and pictures taken from a website of the student's choice.
The project must necessarily respect the HTML / XML structure of the original document the data is processed from (by making some adjustments if necessary). The template of the publication will be based on this structure and laid out with InDesign using automatic software processing tools, automatic features and scripts. Examples of useful features: regular expression (GREP); nested styles; scripts; open-type features in a font.
The graphic design of the project must be original (it should definitely not make use of the graphic codes of the original website), but must be consistent with the proposed contents.
The editorial project will be conducted at real scale and must not remain in the state of a concept. Students will keep track (notebooks, protocols) of the automated layout processes implied.

About Loic Horrelou

Freelance interactive and graphic designer, Loïc Horellou graduated with a DNSEP (Master's degree) in Visual Communication at the School of Fine Arts of Rennes and completed his education within the post graduate program ARI (Atelier de Recherche Interactive) at ENSAD Paris.
In 2008 he created the design collective Sÿclo and co-funded in 2013 the graphic design studio Formidable where he worked on multimedia and motion design projects. Working today as a freelance designer, he contributes to many projects combining graphics and digital media.
Loïc Horellou teaches interaction design at Haute École des Arts du Rhin de in Strasbourg since 2011 and at École Supérieure d'Art et de Communication de Cambrai since 2014. He also regularly conducts workshops in different art schools and universities.

Jackson, Louise

TRINITY LABAN CONSERVATOIRE OF MUSIC AND DANCE

Abstract - Arts Institutions and Aesthetic Education

Recent concerns over the role and funding of higher education have focused attention on its intrinsic value, with the debate regarding societal contribution often centered on solely quantifiable and measurable benefits. This has been coupled with some arguably detrimental side-effects, including: the increasing marketization of higher education through the introduction of student fees, resulting in the ubiquity of the notion of consumer satisfaction; an increasing accountability framework that similarly promotes consumerism through the guise of the protection of public money; a fundamental change in the relationship between institution, teacher and learner; reductions in teaching grants and the promotion of ‘best practice’ themes within learning and teaching; a focus on recruitment and income generation from research activity.
These factors have all contributed to the construction of the now dominant idea within higher education that the university subscribes to a mode of production that exists to contribute to a knowledge economy, coupled with a political emphasis on the essential utility of knowledge. And much of these trends have crossed over from the large cross-faculty higher education institution to the conservatoire and the art school in general. But given the inherent reductionism implied by these same trends, not surprisingly they have come recently under sustained critical scrutiny, using approaches from a range of historical, sociological, philosophical, political and pedagogical perspectives. This paper will bring the conservatoire context squarely into dialogue with this recent critical pedagogical literature, with a view to reimagining the function of arts education, and specialist arts education in general, in society. We argue that if allowed to fulfill its critical and creative potential, a specialist arts education has a unique, perhaps autonomous role to play in resisting the conformity, inequality and inevitability of the effects on individuals of globalized economies. Using approaches variously from phenomenology, philosophy of education and postcolonial theory, the paper will stress the social, transformational and ethical benefits of the arts, situating them firmly in community contexts.

BIO

Louise Jackson has recently completed her PhD at the University of Exeter, in which she researched neoliberalism and the current situation of higher education through the lens of widening participation. Professionally, she joined Trinity Laban Conservatoire of Music and Dance in 2012 as Head of Learning Enhancement. Previously she worked as a Senior Lecturer and Academic Development Coordinator teaching across Music and Musical Theatre programmes at the University of Chichester. In 2013 Louise was awarded a National Teaching Fellowship by the Higher Education Academy, the most prestigious award for teaching excellence in the UK.
Other areas of interest in research and teaching include gender and music; interdisciplinary collaboration in composition teaching with a focus on composition for contemporary dance; radical pedagogy in teaching histories of music; Widening Participation in the Arts. Louise has been actively involved in school and college liaison, working with schools, colleges and other institutions to advise on curriculum and pedagogy within the performing arts and also using music as a tool within other subject areas such as medicine. With undergraduate students Louise has investigated the affect of role modelling on undergraduate success in study through their participation in outreach work.

Translating Other Knowledge – ethnographic performance

Lea Kantonen, Pekka Kantonen
University of the Arts Helsinki, Finland

The performance Translating Other Knowledge is an experiment on performing and translating indigenous knowledge in a Western university context. Our method of extended documentary includes documentary footage presented together with sound of the former presentations and live dubbing.
Among the Wixarika living in Sierra Madre Occidental, Mexico, art is an important part of everyday life and festivals. Artistic expression is present in ever aspect of community life, for example agriculture, political gatherings and childcare. Art education takes place in the context of independent wixarika-governed schools and in the context of shaman training. Unofficially art is taught in families, in ceremonies and in social gatherings. Tatuutsi Maxakwaxi, Great-grandfather Deertail, is a special community-founded school at the Wixarika community of Tsikwaita. A
community museum is being planned as a part of the school, and it has been given the name Tunuwame after one of the manifestations of the sacred deer. The purpose of it is to research, document, present and represent Wixarika knowledge and art. By combining traditional knowledge with modern institutions and technology the teachers and the members of Parents´association face the future with hope, howewer they are not uninformed of the turmoils and
challenges of contemporary Mexican society. In this ethnographic performance we want to introduce different methods of knowledge adquisition of the school and the museum. We have asked the teachers, pupils and their parents what is Wixarika knowledge, how is it learned and what kind of issues would be especially important to be documented.
In the performance we present shots of a video that is being developed in collaboration with the school community. The main performer in the video is a teacher, folk musician and maraakame Heriberto de la Cruz. He will guide the audience to watch the pilgrimage and the cleaning ceremony shown on the video, and he will dub the dialogue of the video into Spanish, and other performers will further dub it into their own languages. In Florence the live dubbing will be in Spanish and English.

About Lea and Pekka Kantonen

Lea and Pekka Kantonen, are Finnish visual artists working with indigenous communities since early 1990s. in 2014 Lea was research fellow at the Collegium of Advanced Studies at the University of Helsinki and now working as a professor of Artistic Research at the University of Arts Helsinki. Pekka is finishing his doctoral degree at the University of Arts Helsinki. They have presented their works both in art museums and performance events and in anthropological conferences, for ex. EASA conference 2014.

Online and studio based fine art learning - a dialogue of with-ness?

Jonathan Kearney
University of the Arts London, Camberwell College of Arts, United Kingdom

In 2013 at the 6th ELIA Leadership Symposium, Jin Xing said that she left the USA when she felt ‘soft power was being enacted upon me’. In considering the challenges facing Europe there is a danger that we also see the ‘soft power’ of the arts and arts education as a useful and effective tool. However in this talk I want to challenge this assumption. Drawing on our experience of running a small but highly effective fine art practice based Masters course with half the students physically based in London and half fully online living anywhere in the world, we have developed a structure that encourages a ‘dialogue of with-ness’. The online element of the course encourages a
conversation across boundaries that opens up deeper understanding and insight. Instead of doing ‘for’ our students we attempt to create a space to be ‘with’ them on their artistic journeys. Is this a model for developing tomorrow’s society? Small conversations, listening intently and seeking to be challenged and stretched.
The technological evolution over recent years has lead to a range of potentially useful concepts including connectivism (Siemens 2004) and transactive memory (Wegner 1985) which both promote the idea of socially distributed knowledge and learning. Having students from around the world, some based in London and others remaining in their home countries, this Masters course uses digital tools to create spaces for interaction on a small scale. Often technology is seen as something massive, allowing actions on a scale previously unattainable. This concept has crept into higher education via the idea of MOOCs, however it appears there is a danger that these
perpetuate the ‘soft power’ approach. Our model remains small, on the edge, allowing students to create personal learning environments and yet our simple structures can facilitate both the minute scale and the massive potential of the rhizomic network.
This talk will draw on a range of theories and student interviews exploring the effectiveness of the approach we have used since 2004, is there a dialogue of with-ness and is it a useful model?
Siemens, G. (2004) Connectivism: A LearningTheory for the Digital Age. eLearnspace.
Wegner, D. M., Giuliano, T., & Hertel, P. (1985). Cognitive interdependence in close relationships. In W. J. Ickes
(Ed.), Compatible and incompatible relationships (pp. 253-276). New York: Springer-Verlag

About Jonathan Kearney

Jonathan Kearney is a British artist living and working in London, UK. He is the Postgraduate Programme Director at Camberwell College of Arts, University of the Arts London. He is also the Course Leader for MA Fine Art Digital where since 2004 he has pioneered online learning for fine art masters students. Uniquely the MA Fine Art Digital course is offered both as a studio based course in London and as an Online option. Jonathan has recently added the UK’s first Fine Art Low Residency element to the Masters course. With extensive international experience both exhibiting work and teaching, Jonathan has particular interest in China having lived there for 3 years. His research covers a range of interests from online and blended pedagogy, through art practice and theology engagement, to fine art practice in a digital environment.

Quality Assurance in the Arts: Discovering scopes for development instead of Sticking to European Standards. Reflections and a Case Study.

Bernhard Kernegger
University of Applied Arts Viennia, Austria

Open Space
Wednesday 30 November
Venue: IED
14.00-15.30

Abstract

Quality assurance has been one of the core issues of the Bologna Process from its very beginning in 1999. But although the European Standards and Guidelines for Quality Assurance adopted in 2005 clearly stated that ‘the primary responsibility for quality assurance in higher education lies with each institution itself’, this implicit but strong call for institutional diversity has not yet lead to the introduction of a broad range of different and institution-specific QA systems: All over Europe, QA usually focuses strongly on teaching, usually especially on course evaluation, usually especially on student questionnaires.
The relevance of this issue is sometimes not fully acknowledged by university communities, as QA is frequently perceived as a necessary evil and thus blanked out whenever possible. Although this mindset at first sight seems to help artists focus on their core interests, on a closer look it carelessly neglects the powerful side-effects of QA routines on institutional culture: A control-oriented evaluation system e.g. can put the trust between university leadership and academic staff at stake, or an outcome-measuring system can influence the individual habits of art production and praxis on the long run, as new members of institutions are more likely to take for granted what has been contested by long-term staff members.
This paper points out the necessity of strong concepts how to further develop universities, and how QA can be used as a common reference and repertoire of instruments, in the best case jointly owned by institutions as a whole and all of its members. The author believes that it is a strategic task, especially for arts universities, to establish a genuine critical praxis that does not ignore European and national frameworks, but consequently builds on the values and specifics of the respective institution – and then to argue this praxis, even publicly, against the actual tendencies of simplification and over-reductionism that threaten a beneficial further development of diversity in European higher education.
To illustrate this belief by an empirical example, the paper concludes with summing up an almost ten-year process at the University of Applied Arts Vienna that led to the establishment of an alternate approach to QA. This approach was successfully certified externally in September 2015, although it mainly focuses on supporting reflection and transformation processes instead of steering and control. (cf. dieangewandte.at/quality)

About Bernhard Kernegger

Bernhard Kernegger works at the University of Applied Arts Vienna where he is responsible for the department of academic affairs, the department of university and quality enhancement and the department of international affairs.
During the last ten years, he dedicated himself to the development of an institution-specific approach to quality enhancement, using his own academic background as a pianist and piano pedagogue as a basis for carefully translating between the realms of the arts and internal and external demands.
He regularly utilises opportunities to reflect and further develop practical experiences in national and international contexts, bringing in critical approaches towards over-mechanistic systems and standardization. Bernhard Kernegger has regularly been invited to speak or publish on issues of quality enhancement (e.g. European Quality Assurance Forum, Zeitschrift für Hochschulentwicklung, Jahrbuch für Hochschulrecht). He also appears as a consultant in trainings for university leadership and QA responsables at arts universities.

Khetaguri, Levan

Abstract - Teaching Professional Theater Practice (New international project of Shota Rustaveli Theater and Film Georgian University and AKT-ZENT, Berlin, Germany)

Since last year Shota Rustaveli Theater and Film Georgian State University started cooperating with AKT-ZENT in the field of Theater Pedagogy, which for several years invites universities and academies to jointly examine the position of the acting teacher and the different ways for the education of acting teachers.
During the ELIA congress Shota Rustaveli Theater and Film Georgian State University and AKT-ZENT would like to discuss and investigate different models of training - as a Master programme for academies and universities (HEIs) and as a post-graduate Vocational Education and Training course. Furthermore this new international project proposes to share the newest research of Dr. Jurij Alschitz and raise artistic methodological questions challenging theatre education today:
Dialogue Presentation by Professor Dr. Jurij Alschitz, Professor Giorgi Margvelashvili and Dr. Levan Khetaguri.
The world is entering a new stage of its development, a stage of rapid development, in which the distribution of new information technologies assume the character of a global information revolution; one, which has a growing influence on politics, economics, science, culture and, above all, on education. This so-called digital revolution is determining the motion of an entirely new type of society, albeit one that still sees this information as the basis of acquiring ‘knowledge’.
The famous words uttered by philosopher Francis Bacon - "Who owns the information - owns the world", could now perhaps be slightly amended to “Who owns the education - owns the world”. Over the past two years, AKT-ZENT Research Centre has spent time researching and exploring through practical case studies how the development of theatrical education in this new era should be determined, in order to comply with our rapidly evolving society.
Prognoses indicate that this period will be marked by a distinct lack of energy in general, which in turn will generate a counter-energy of creation. This creativity will determine the development on many different levels - state,individual and social.
The aim of theatrical education is to provide an entrance point for integration into the global information space, before the most recent discoveries in science and technology are fully realized. For schools and education, this requires changes in the very near future. Changing theater schools equals (=) changing theater.

BIO

Let our mirror be your window

Bridget Kievits
Amsterdam University of the Arts, Netherlands

Join us in a journey through the Amsterdam University of the Arts. We will start at our headquarters, guiding you along the history of our university and the choices we have made to keep up with society as it transforms. Let us take you to our six academies and experience our diversity.
During your journey we will address the following topics:
An introduction
- Who are we: six different academies with their own management
- Six different academies that form one university of the arts
- A university of the arts in the capital of the Netherlands (Amsterdam)
Our organizational policy
- Why did we decide to promote our academies individually instead of our whole university as one?
- What challenges does this decision bring about, and what opportunities?
Our role in the changing world around us
- How do we adapt to the transitions our society finds itself in?
- Examples from the different academies
We will show that our choice of positioning as six ‘individual’ academies allows us to be flexible. As a result we are able to adapt, make use and contribute to the ongoing transformation of the world around us. Learn from the lessons we have learned and see whether your organization can benefit.

About Bridget Kievits

Born in 1960 in Holland, Bridget studied Dutch Language and Literature in Amsterdam, where she graduated Cum Laude in 1988. After graduation she started working at De Nederlandse Opera, where after two years Bridget became manager of the Opera Choir. She left the Opera in 2004 and became head of the management team at the Royal Conservatoire in The Hague.
In 2008 Bridget went to the Amsterdam University of the Arts (AHK), where she became Secretary to the Executive Board, under Olchert Brouwer, the then President.
Since October 2010 Bridget has been Vice-President of the Executive Board, together with her colleague, Bert Verveld, who is President. Her principal portfolios are education and research, quality control, lectorates, student affairs and accreditations.
The AHK exists of six independent and unique art schools, from the Conservatoire of Amsterdam, to the Reinwardt Academy for cultural heritage studies. As Board they have the final responsibility for these schools; to govern them with an eye on the uniqueness of each school, with an understanding of their differences and with a vision on what we have in common.
Her aim as member of the Board is to create the best possibilities for those people who actually do the work: our students, teachers, artistic leaders and directors. That means making sure the management is of high quality, that there is a demanding but safe atmosphere in which the talent of students can be fostered and developed, and that they are well prepared for the outside world that awaits them.
Since 2014 Bridget is a member of the Executive Board of Elia, as well as Treasurer.

Andrew Kulman
Birmingham City University, United Kingdom

This paper will look art what we are about, what do we believe in and value in art and design education.

'Communities of practice deepen their mutual commitment when they take responsibility for a learning agenda, which pushes their practice further.'
Wenger, Communities of Practice and Social Learning Systems (2000)

Looking at several recent case studies the presentation will address the successes and pitfalls that staff face when they try to develop a community of like minded practitioners. Universities are losing students at key moments in the first year and this deeply affects progression. The university has asked key staff to identify ways to resolve this issue. There were exercises and experiments offered to students to see how students might help create a more meaningful environment to work in. An evaluative paper was produced and this has been reflected on, the findings will be examined.
The Florentine venue is a perfect location to look at communities and the presentation will make some interesting comparisons between Florentine culture and twenty first century at education.

About Andrew Kulman

Professor Andrew Kulman MA (RCA) FRSA is a respected practitioner and educator. He has taught at many leading UK universities and colleges of art and is a strong advocator of 'learning by doing' Some of his workshops have gained international recognition. In January 2015 he was invited to deliver an open elective at NID in India, this was a major collaborative experience that developed into a series of innovative changes in the curriculum of NID.
Andrew is a Professor at Birmingham City University where he runs a large Graphic Design provision, he is also an advocate of innovation in teaching and learning and has been awarded a number of teaching awards for his ideas and teaching. Andrew teaches in Hong Kong and Thailand supporting courses running visual communication.
Andrew has established a professional profile as an illustrator and printmaker. he's exhibited widely and has work in national collections in the UK.
He has attended the10th, 11th, 12th and 13th ELIA biennales and presented at two of them.
His research interest focuses on pedgogy and new ways of looking at the teaching environments that exist in new institutions of art.

Prolific Innovation or Pragmatic Tool?

Economic pressure on the higher arts education has been increasing within the last decade and most probably will be even growing due to the current escalating situation in Europe. One of the strategies developed by the arts education institutions to compete with the “hard sciences” in the neoliberal environment and to secure their funding is represented by setting up the artistic research methodology. Artistic research aims at fusing artistic creation with academic discourse and mostly has been linked to the third – doctoral – level of education. Recently, it has entered
the field of theatre schools. How is it implemented into their curriculums? What strategies of knowledge production dominate at present PhD projects using artistic research? To whom is the produced knowledge addressed? Is it mainly the artist, his/her collaborators, the audience or the scholarly community? What modes of knowing unrecognized by governing political systems are made visible by current doctoral projects? The critical framework of the paper will include writings of Annette Arlander, Henk Borgdorff, Robin Nelson, Klaus Jung and Torsten Kälvemark. The author will share insights into the current challenges in doctoral research from her perspective in
the Czech Republic and as a programme chair of the 7th International Conference of Doctoral Studies in Theatre Practice and Theory CURRENT CHALLENGES IN DOCTORAL THEATRE RESEARCH, 20-21 November 2015, held by Janáček Academy of Music and Performing Arts in Brno, Czech Republic.

About Radka Kunderová

Assistant professor, researcher, critic and editor. She graduated from Charles University in Prague, Czech Republic, in theatre studies, media studies and journalism, also studied in England and Greece. She has received her PhD with the dissertation Erosion of the Authoritative Discourse in Czech Theatre Reviewing Practice within the Period of So-called Perestroika (1985–1989) at the Department of Theatre Studies, Masaryk University Brno, Czech Republic.
She has been working as an asistent professor, conference organizer, researcher and editor at the Theatre Faculty of Janáček Academy of Music and Performing Arts (JAMU), Brno, Czech Republic. She teaches history of Czech theatre, performance analysis for foreign students or theory of audiovisual documentation of theatre. She is also pedagogically involved in doctoral studies. Her research interests include issues of politics, language and ideology in theatre discourse (mostly in Czech theatre between 1948 and 1989), new media in contemporary theatre or documentary theatre. She has published conference proceedings of various JAMU conferences focused on theory
of theatre. Recently, she has been a programme chair of the 7th International Conference of Doctoral Studies in Theatre Practice and Theory CURRENT CHALLENGES IN DOCTORAL THEATRE RESEARCH, 20-21 November 2015, held by JAMU. She has participated in various Czech and foreign conferences and research projects, e.g.Contemporary Central European Theatre: Document/ary versus Postmemory held by the International Alternative Culture Center, Budapest. As a theatre critic, she has been an external editor of the Czech theatre magazíne Svět a divadlo (World and Theatre).

Lanquetin, Jean-Christophe

HEAR STRASBOURG

Abstract - Shifted Certitudes

"Turn mirrors into windows"
What does this enigmatic sentence mean?
How do we see ourselves in other contexts?
How does the experience of non-Western contexts transform our self-perception and push us to reconsider our certitudes and self-sufficient positions ?

From 2003 to 2010 a partnership process was developed between the two art schools of Strasbourg and Kinshasa. This intense ‘close connexion’ questioned and transformed deeply the teachers and students involved in it and by extension both schools. This 7-year project was a ‘non-ending’ circulation from one place to the other and vice versa, involving around 30 teachers and 50 students (both schools); workshops, exhibitions, shared courses for students including an essential dimension of graduation, exhibitions and events were the various formats of this relation.

The process was clearly experimental and shifted all participants from their established position and practice. We were constantly discovering the fact that our stories, on both sides, were shaping our point of view. We were facing our atavisms. We constantly had to be aware of the obstacles on the way in order to keep the quality and possibility of the relation, increase and preserve it, and to create a common space.

For us, French teachers and students, this process often perceived as an « adventure », was interestingly challenging and pushed us to look back to our colonial history and to become aware of the ongoing asymetrical relation resulting of it. Crucial in the perspective of the world to come.

BIO

Visual artist, scenographer, funder in 2000 of ScU2 and of the Urban Scenos project with François Duconseille. J-C. Lanquetin working abroad and in France, the theater (P. Boulay, G. Regis Junior C. Boskowitz …) and contemporary dance, with choreographers including the African continent (Linyekula F., O. Okach A . Cuvilas, B. Cekwana …), and conducts personal projects, using multiple mediums whose foundation is space, the relationship contexts, mainly urban. He funded and runs with François Duconseille the department of scenography of the HEAR art school of Strasbourg. They hold there together the research program in art Play>Urban with the WITS School of
Arts of Johannesburg.www.play-urban.orgwww.urbanscenos.org

• A presentation of an Erasmus+ Strategic Partnerships project 2014 - 2017
• Key concepts: Arts, health and well-being, creative well-being, additional education for HE lecturers, multiprofessional cooperation, young people, community practices.
Moving towards Multiprofessional Work, MOMU, defines and develops multiprofessional working skills and environments for professionals in arts and social work. These skills will respond to the needs of the European labour market in a rapidly changing society. From arts viewpoint it is about the development of the role artists, arts educators and arts education institutions have in the creation of tomorrow's society.
In order to be competent in educating professionals and answering the needs of working-life, the lecturers need to modify their knowledge and skills towards dialogue and interaction between different disciplines. Skills to apply their own professional capacity in cooperation is in the key role in building students’ multiprofessional competences.
Project partners are University of Tartu Viljandi Culture Academy, University of Castilla La Mancha, Manchester Metropolitan University and Turku University of Applied Sciences.

MOMU
1. Defines preconditions and existing promising practices for multiprofessional teamwork between professionals of arts and social work;
2. Plans and executes the MOMU Training Package of Multiprofessional Teaching and Learning in partner countries for HEI lecturers of arts and social work;
3. Documents and evaluates both the training package for HEI lecturers, as well as the multiprofessional courses organized by the participating lecturers in their home institutions;
4. Compiles and modifies the gained knowledge and materials into a Handbook of Teaching and Learning of Multiprofessional Work; and
5. Disseminates the outcomes of the project through seminars and articles by the responsible organizers of the project activities.
Social work and arts students in Britain, Estonia, Finland and Spain participate in the multiprofessionally organized training courses by the lecturers joining in the MOMU training. The work with the students forms the practical part of the training of the lecturers and will be both documented and evaluated. The students will work in multiprofessional teams to cooperate with the working-life implementing workshops or activities for young people.

In my presentation I will give a view of the project’s first year and the steps in promoting multiprofessional work so far. My aim is to arouse interest on this kind of lecturers´ education and to present the creative learning process with its outcomes by November 2016.

About Liisa-Maria Lilja-Viherlampi

Liisa-Maria Lilja-Viherlampi has made her PhD in Education. She is also Master of Music and Music Therapist. She has a wide background as a teacher and educator in a variety of educational contexts/settings from primary school to higher education and teacher education. Currently Lilja-Viherlampi works as Principal Lecturer in Culture and Well-being, Research Group Leader and Master Degrees and Spesialisation Studies Leader in Turku university of Applied Sciences/Arts Academy. During 2009 – 2014 Lilja- Viherlampi worked as Research and Development Manager in Arts Academy leading its RDI as a whole. Main themes in Lilja-Viherlampi’s competence chart are: creative processing, innovation competencies, pedagogic development work and music and other arts in health and well-being.

The Molt of the Book — Walkabout in a House of Change

The Deichman is currently being relocated. From a neoclassical building to a modern glass structure by the waterfront. In the architectural drawings: A display of books in full view—conceived by the architects as wall elements—connects to the aesthetics of public space, rather than earlier public use, when the books were brought by the librarians, handed over to lenders, from their existence in invisible and inaccessible catacomb-like storage in the «tesseracts» of deep basements.
On this background, the students were asked to develop a concept for ‘one million book jackets’—in a project called The Molt of the Book: it was based on the assumption that the aesthetics of the library as a public space, would entail a renewed interest in the public aesthetics of the book (as distinct from the commercial designs targeting private owners).
The grounds for such an assumption is that the circulation of library books always was—and still is—different from the privately acquired bookstore-item. The library is more than the sum of its books: it is a window to the contemporary, in that it hosts a multi-cultural public in an atmosphere of low voices, where crowds otherwise grow louder by the day. The library-book is design for library use.
In a series of three contemporary essays on the present and emerging conditions of book—written by a graphic designer, a librarian and an anthropologist—we wanted to reect this atmosphere by using the last generation of the library editions proper, shirted with a brand of synthetic skin called Granitol, embossed with gold-letters.
The Molt of the Book—we would like to share the story to and through this book with the audience at ELIA: its story conveyed in its contents, and its story as a container. Our volume does not simply mirror a library book-model from the 60s, but is a window unto the deep questions of the contemporary library, and a transition in the history of Deichman.
Its contents ranges from the history of book-binding in popular culture and a specialized practice in Deichman, myths and facts in a current assessment of reading habits among lenders, how the stacking and joinery of a technology of yore—the book—with present technologies of tangible computing in which books become nodes in a network.
In this specific sense, mirrors the changes in society and—at the same time—it is a window unto a society in change.

About Martin Lundell

Martin Lundell is a graphic designer and professor of visual communication at the Oslo National Academy of the Arts. His main focus as a designer and education is the printed book.

About Theodor Barth

Theodor Barth is an anthropologist and professor of theory and writing at the Oslo National Academy of the Arts. He has worked with a broad set of topics with a special interest to book-building.

Teaching Professional Theater Practice (New international project of Shota Rustaveli Theater and Film Georgian University and AKT-ZENT, Berlin, Germany)

Since last year Shota Rustaveli Theater and Film Georgian State University started cooperating with AKT-ZENT in the field of Theater Pedagogy, which for several years invites universities and academies to jointly examine the position of the acting teacher and the different ways for the education of acting teachers.
During the ELIA congress Shota Rustaveli Theater and Film Georgian State University and AKT-ZENT would like to discuss and investigate different models of training - as a Master programme for academies and universities (HEIs) and as a post-graduate Vocational Education and Training course. Furthermore this new international project proposes to share the newest research of Dr. Jurij Alschitz and raise artistic methodological questions challenging theatre education today:
Dialogue Presentation by Professor Dr. Jurij Alschitz, Professor Giorgi Margvelashvili and Dr. Levan Khetaguri.
The world is entering a new stage of its development, a stage of rapid development, in which the distribution of new information technologies assume the character of a global information revolution; one, which has a growing influence on politics, economics, science, culture and, above all, on education. This so-called digital revolution is determining the motion of an entirely new type of society, albeit one that still sees this information as the basis of acquiring ‘knowledge’.
The famous words uttered by philosopher Francis Bacon - "Who owns the information - owns the world", could now perhaps be slightly amended to “Who owns the education - owns the world”. Over the past two years, AKT-ZENT Research Centre has spent time researching and exploring through practical case studies how the development of theatrical education in this new era should be determined, in order to comply with our rapidly evolving society.
Prognoses indicate that this period will be marked by a distinct lack of energy in general, which in turn will generate a counter-energy of creation. This creativity will determine the development on many different levels - state,individual and social.
The aim of theatrical education is to provide an entrance point for integration into the global information space, before the most recent discoveries in science and technology are fully realized. For schools and education, this requires changes in the very near future. Changing theater schools equals (=) changing theater.

About Giorgi Margvelashvili

Professor Giorgi Margvelashvili is rector of the Shota Rustaveli Theatre and Film Georgian State University. In 1980 he graduate from Shota Rustaveli Theatre and Film Institute as stage director, as teacher of drama department since 1984. Since 2005 he was elected as rector of the university. In parallel he is working as theatre practitioner, as stage director of Tumanishvili Film Actors Theatre since 1984, and as artistic director 2001-2005. Since 2009 he is Chief Director of A. Griboedov State Academic Theatre in Tbilisi. He received several professional awards in Georgia for best
production, best directing (1994, 1996, 2001, 2004), etc.
He is actively involved in artistic research too and takes part in international conferences like ATEC (2011, 2012,2013, 2014). Since 2009 he is the member of Tbilisi International Festival advisory council.

About Jurij Alschitz

Director, theatre teacher and academic, Dr. Jurij Alschitz, received his first director training in Moscow under the tutelage of Prof. J. N. Malkovsky (a former pupil of Stanislavsky). After several acclaimed productions, he continued his education with a second course of training at GITIS Russian Academy for Theatre Arts, under the instruction of Prof. M. Butkevich and Prof. A. Vasiliev, where he subsequently held a teaching post.
In 1987, he took part in the foundation of the theatre ‘School of Dramatic Art – Anatoly Vasiliev’, where he established his own rehearsal and training methods. From there, Jurij Alschitz went on to further develop the methods of the famous Russian theatre tradition, creating his own unique pedagogical system, whereby training forms the central basis of educational and rehearsal techniques. In 1992, Jurij Alschitz established his own “School” by teaching and directing at various universities and drama schools throughout Europe and which led to the opening
of International Theatre Centres in Berlin, Stockholm, Oslo, Rome and Paris, now commonly known as The European Association of Theatre Culture. EATC has created an extensive network of ideas and a teaching ensemble with the ongoing aim to channel new theatre impulses and instigate practical research.
He is the artistic director of the AKT-ZENT /research centre of the International Theatre Institute in Berlin. In 1999 he founded the bi-annual international festival for theatre training methods – METHODIKA His actual works are concentrating on the theoretical research and practical theatre training methods. In 2011 the project of J.Alschitz "World Theatre Training Library” was recognized by the International Theatre Institute as one of the most important theatrical exploration nowadays.
In 2012-14 he proposed and realized the first MA Master Programme for Teaching Professional Theatre at UNAM, Mexico; since 2015 the second pilot started with European Academies.
His books have been published in a range of languages and offer practical theatre exercises and advice for thousands of students, teachers, actors and directors.

Preserve the Contemporary Art as a Way of Understanding Between All and Value of Artistic Activity

Maria del Carmen Marquéz Bellido
University of Granada, Spain

The conservation of contemporary art is included in the content of different courses of the Fine Arts degree of the University of Granada (Spain). However, not all students develop sufficient relevant competences and/or properly apply them according to the recommended instructions. This is the subject matter of the research presented, initiated at the University of Granada
(Spain) in 2011 with students from the Bachelor of Fine Arts (Plan 1997) and continued in 2014 with students of the Fine Arts Degree (Bologna Plan) at the same centre. It has also been carried out at other european institution.
The results given by different groups of participating students clarify their views, experiences and knowledge on the conservation of contemporary art andindicate the need to improve their professional skills in this regared as a way to know better the contemporary artistic activity and its importante in the global world, to the present and the future generations.
The research shows that most students express concern for the conservation of their works, although they like creating ephemeral works or allowing their material degradation, knowing the importance of conservation of works of art for buyers and collectors. The students, while performing preventive conservation work with their works, state that they do not have sufficient knowledge about the conservation of contemporary artworks, having already lost works for unforeseen technical reasons, while they have not suffered significant material degradation and, finally, believe their Syllabus does not provide them with the necessary knowledge and teaching skills for the conservation of contemporary art to adequately develop their profession.
Therefore, this research allows us to know that conservation of contemporary art is a topic of interest for Fine Arts students who participated in this project, who think that this subject is not sufficiently developed in their Syllabus and since these people will be future cultural agents, this aspect of their training should be improved, implementing theoretical and practical teaching content on it and applying the most appropriate methodologies for the transfer of knowledge to be a tool that enhances the conservation of contemporary patrimonial heritage in the future.

About Maria del Carmen Bellido Marquez

Maria del Carmen Bellido is a Professor in the Sculpture Department at the Faculty of Fine Arts at the Univeristy of Granada. She teaches Sculpture, Photography and Agents involved in the deterioriation of materials.
She is a published author in scientific jounral and books on contemporary artistic creation and its conservation. As an artists she created and exhibited her sculptural works, mainly in metal, but also photography, video and painting. She undertook various research and teaching fellowships for a variety of organisations and countries including a Thomas Bata Foudnation sculpture grant in Czech Republic.

Westpassage – Journey, Inquiry and Sustainable Collaboration

Martini, Babette
InWest eG, Germany

This paper describes the art project called Westpassage (Passage to the West). The project has two aspects to it: on the one hand collaboration between artists from different disciplines, and on the other an intended positive impact on the Unionviertel, a westerly part of the city of Dortmund in the Ruhr area in Germany, with formerly heavy industry and then and now high immigration density.
The project hopes to show that through collaboration mutual and reciprocal inspiration between artists can be engendered and strategies for a sustainable artistic enterprise within the Unionviertel can be established.
Being an artist and part of the project, I will illustrate the structure and the outcome of this project.
Westpassage is a project of the Union Gewerbehof, a cooperative of different small businesses. It is composed of four individual art projects executed by three individual artists and one artists’ group, all working in the area. The project runs from December 2015 to May 2016 and is financially supported by the Land North Rhine Westphalia.
The Union Gewerbehof is a member of the InWest eG which facilitates the setting up of creative and artistic businesses in the Unionviertel.
Westpassage revolves around life and structure in the Unionviertel: using the metaphor of the journey, it will trace, document and make visible memories, architecture and enterprises past and present. Through their different artistic practices the individual projects will engage with selected residents, businesses and enterprises of the area. It is hoped that through these engagements sustainable relationships between both the artists and the enterprises can be developed.
Each project of the Westpassage uses a different fine art discipline and engages with a different aspect of the Unionviertel and its enterprises. The paper will describe the four projects and their different approaches, which are: audio (sound recordings of interviews) and installation (Silvia Liebig), paper folding and installation (Stephanie Brysch), rubbings and installation (Babette Martini) and photography (Projektraum Fotografie: Daniel Sadrowski, Gerhard Kurtz, Eisenhart Keimeyer, Donja Nasseri, Sabrina Richmann. A web site will inform about the progress during the project.
A final exhibition will present the results of the different projects of Westpassage in a final exhibition both to the Unionviertel and a wider public. With the exhibition the documentation of the project will be published and disseminated.

About Babette Martini

Babette Martini lives and works in Dortmund, Germany, as a freelance fine artist. She holds workshops and is leading a mentoring group for professional artists. She is also a founding member of the artist led gallery project blam! in the Unionviertel in Dortmund. Currently she is working in a collaborative art project called Westpassage.
From 1987 to 2011 she lived and worked in Bath and Cardiff, GB. In 2007 she was awarded a PhD in Art & Design, Cardiff Metropolitan University and in 2002 gained an MA in Ceramics, Cardiff Metropolitan University. She taught Ceramics on BA and MA level (Central St Martins College, Cardiff Metropolitan University).
For her PhD studies she was awarded a stipend from the University of Wales Institute, Cardiff. Further (selected) awards include the Postgraduate Award, Arts and Humanities Research Board (2001), Setting Up Grant, Crafts Council, London (1993), Major Award from South West Arts (1993).
She exhibits her sculptural and two-dimensional work in Germany and abroad in group and solo exhibitions in public and private galleries like (amongst others) the Kunstverein Projektraum Bahnhof25, Kleve (G), Künstlerhaus Göttingen (S), BBK Torhaus, Galerie, Braunschweig (S), BRLSI, Bath (S) or Galerie Freyer, Bocholt (S). She is also showing her work in so-called non-gallery spaces like the Bath Abbey, Bath (S), the Fraunhofer Institut UMSICHT, Oberhausen (S) or the Old Postal Museum, Bath (G). (S - solo exhibition, G – group exhibition)
Her work was most recently reviewed in 2015 New Directions in Ceramics: from Spectacle to Trace, Jo Dahn, London, Bloomsbury Publishing Plc, ISBN HB:978-1-4725 2671-7. For more information please visit www.babettemartini.com

Coaching for artists: From the University to the art world. The case study of the R+D project: “Visual Arts and Talent Management”

Belén Mazuecos
University of Granada, Spain

Since the late 90s, there has been an unprecedented expansion of the business of art and the creative and cultural industries, multiplying the number of mediators and diversify their skills and, of course, also the number of artists seeking to break into the complex current artistic scene .
Unquestionably, the artistic mediators actively involved in building the cultural value of contemporary art; in 1994, the art critic and historian Juan Antonio Ramirez (Ramirez , JA 1994 ) compared the complex system of art and its market with an "extremely fragile ecosystem " in which the survival of a species was conditional on the other; in this scenario, the ruling class from the 80s, the art "intermediaries", guided the contemporary artistic evolution.
Producer artist has experienced in recent decades a metamorphosis into a new type of "artist-product", the result of complicated operations of marketing, in which legitimate art system providing the optimization of resources. To be successful, an artist must harmoniously manage their investments in specific "capital" and "relational capital" (Uhlaner, C.J. 1989) generating consistent project quality but also cultivating a network of contacts that allows for credibility.
The project presented raises the symbiotic collaboration between different areas of knowledge, promoting a shared knowledge transfer Academia-Industry-Society, on the basis of a broad aggregation which will involve universities and national and foreign private companies, in order to analyse the processes of building branding of young artists and to create a network for promotion and dissemination (examining the mechanisms of legitimation of contemporary art, managing talent and applying cultural marketing techniques), allowing internationalize the careers
of emerging artists and transfer artistic research to society.
The main objectives of this research are:
1) Determine the mechanisms of legitimation of young artists and the role of different art’s mediators in building of value.
2) Analyse the different processes involved in building the branding of young visual artists and develop actions to manage their talent and internationalization of their careers (i.e. using coaching strategies).
3) Generate a network for the promotion of young artists and disseminate the works they produced in national and international exhibitions and in virtual environment (social networks, app...).
4 ) Investigate what new art business models are in a globalized context. The main expected results of the project are to determine the influence of relational capital in the success of
emerging artists and lay the foundation for the creation, design and development of a social network of the international arts community (artists , dealers, collectors, etc.) as a platform to share information about young contemporary artists, with the objective to create social relations between different actors of the contemporary art system using similarity algorithms.

About Belén Mazuecos

Dr Belén Mazuecos Sánchez is Director of the Visual Arts Area at the Contemporary Cultural Centre-Vicerectorate Cultural Affairs of the University of Granada (Spain) (since July 2015) and she has been Vice-dean of Cultural Affairs and Knowledge Transfer at the Faculty of Fine Arts-University of Granada for the last seven years (2008-2015). She is currently a contracted professor and researcher in the Department of Painting since 2002. She graduated in Fine Arts at the University of Granada (Spain) and the Accademia di Belle Arti di Brera of Milan (Italy) in 2001. She
obtained a degree in Conservation and Restauration of Cultural Heritage in 2004 (at the UGR). She obtained an European PhD in Fine Arts in 2008 (at the UGR) with a thesis on Contemporary Art market. She graduated in Social and Cultural Anthropology at the University of Granada in 2011.
She is profesor of the Master of Artistic Production and Research at the UGR and has been member of the academic board of this Master from 2011 since 2015.

Meek, Gemma

Manchester Metropolitan University

Open Space
Wednesday 30 November
Venue: IED
14.00-15.30

A window facilitates the act of looking from the outside to the inside and from the inside to the outside. The historical and contemporary reader of Woman’s Outlook can be viewed as outside of the magazine, looking upon a mirror, their image reflected back onto themselves. However, Woman’s Outlook becomes a window as the reader actively engages with its content by entering into a cooperative act of conversation and idea generation. This critical reading and discussion, fragments and transforms Woman’s Outlook from a metaphorical mirror to a transparent window of insights. This critical engagement provides participants with the possibility to view alternative landscapes through Woman’s Outlook.
Jo Darnley’s research into Woman’s Outlook, (1919 – 1967), examines the complexity of gender ideology in the interwar co-operative movement. A consumer based movement with democratic principles is explored through the dynamics of women’s everyday engagement with its visual and material culture. Gemma Meek’s research about socially engaged book art (1990 – present day) conceives a definition and method of reading books that are created in an artistic and cooperative way, often with a social purpose in mind. Darnley & Meek’s work connects through the method of subjectively interpreting objects and printed materials that are created collaboratively, but traditionally critiqued through the perspective of the individual, lone researcher. Working as collaborators, a multi-vocal approach offers dynamic opportunities for reading images and texts in Woman’s Outlook that may not be considered by the single researcher.

Workshop
The collaborative workshop will expand this multi-vocal approach by encouraging participants’ to select, respond and transform imagery from Woman’s Outlook magazine. Through embodied readings and open discussion participants engage with pages from Woman’s Outlook. The diverse responses will highlight the limitations of meaning creation that occur when the historian researches as an individual. This multi-vocal approach to artistic research is a move towards transforming society. Through critical and creative everyday reading and awareness, perceptions can be disrupted.
​Participants are invited to ‘play’ and investigate through the decoration, marking, signing, cutting and alteration of an acetate window as a response to the discussions and readings of ‘Woman’s Outlook’. These windows will be collated towards the end of the session into a book. Each window represents a page and forms further readings through the book’s transparency. This new space, in which to map connections, disrupts the singular reading of the authoritative historian and fragments the metaphorical mirror represented by ‘Woman’s Outlook’.

Bio

Gemma is a first year, North West Consortium DTP AHRC funded PhD researcher at Manchester Metropolitan University (MMU). Her research project aims to construct a critical framework in which to read socially engaged book art through the selection of case studies and the mapping of connections, practices, themes and book forms. Although not yet fully defined, socially engaged book art involves artists/organisers engaging with various social groups (homeless groups, education collectives, mental health participants etc.) through the process, exchange, creation, collaboration and production of books in an artistic manner. The inclusion of various agents in the process of making book art is to challenge perceptions and power systems in a desire to improve individual and collective lived experience.
Gemma’s previous experience as a Learning Officer at Watford Museum has put education, partnership and community outreach at the heart of her practice. Her role as learning officer included creating and running a diverse and engaging education and events programme for a wide range of users.
Gemma has a diploma and foundation degree in art and design practice, and since BA Art History, has pursued a passion for writing about book art.

Morte, Terés Andrés

Fabbrica Europa Firenze

Abstract - Arts Talent Training: a case of best practice

Vocational training should be extended to artists already in activity, in order to give them
additional practical skills in their art projects. Nowadays the borders between theatre, visual arts
or dance are largely vanished, so artists must combine their creative work transversally to achieve
a tangible knowledge. Fabbrica Europa, active in Florence since 1994, has promoted several
specific training formats supporting creative talent in the field of artistic projects. We are aware
that the European Union requires a great pragmatism in cultural production, and that cultural
production should be effective also in the creative social field and in developing new audiences.

Fabbrica Europa has extensive experience in vocational training in the field of arts, based on a
horizontal, peer-to-peer approach. Last year we have created two creative factories, one in the
former prison of Florence, Le Murate, and the other in a small Tuscan town called Anghiari.
For Florence Open Art Project, we invited twenty young professional artists of all creative
disciplines to develop interactive projects in more than ten open air and indoor spaces. Let me add
that this prison was restored and re-opened as a mixture of social housing and cultural spaces.
Anghiari Dance Hub is a professional laboratory for a small group of selected young professional
choreographers: one year of residencies, accompanied by experienced mentors to help them
finding new tools to define their creative work and bring it to the production level.

BIO

Andrés Morte Terés (Barcelona, 1953) is one of the most important artistic directors and cultural
managers in Spain and Italy. He holds bachelor’s degrees in Hispanic studies from the University of Barcelona and in Ethno linguistics from the University of Zurich.
Andrés Morte was a founding member of the worldwide famous theatre company “La Fura dels
Baus” and directed the Public Theatre “Mercat de les Flors” in Barcelona. He also founded the
Barcelona Film Commission and the Barcelona Film Festivals Platform.
He has worked under the actor Robert Redford for the Sundance Institute and he directed the
Platform of Latin-American Screenwriters.
He founded together with Maurizia Settembri Fabbrica Europa, one of the most important
festivals in Italy. He filmed several documentaries, short films, and theatre plays, all of them
performed internationally.
Andrés Morte is currently a lecturer at the University School of Cinema and Visual Communication
of Barcelona. He is also an international cultural advisor and vice-chairman of Fabbrica Europa
Foundation for Contemporary Arts. He currently works as Director of Creative Development for
several projects in the field of Independent Performance and Contemporary Dance regarding
other artistic disciplines. He is also a mentor for several cultural programs for Italy, Argentina,
Spain and Hong Kong.

Silvia Németh is an educational researcher and responsible for the administrative leaderships and evaluation and monitoring process of the Creative Partnerships Hungary programme. Since 2013 with her team she has collected data on students’ achievement within those public schools where Creative Partnerships programme takes place. She is leading Creative Partnerships’ trainings together with international trainers at the Faculty of Music and Visual Arts, University of Pécs on a regular basis. Besides this programme she is the executive director of T-Tudok Centre for Educational Research and Knowledge Management.

Hungarian and gipsy youth making and enjoying art together

Márta Nyilas
University of Pécs, Hungary

In Hungary, a country with 10 million inhabitants, the biggest minority group is that of the more than officially known 600.000 gipsies. These gipsies have their own history and culture. At the University of Pécs, Faculty of Music and Visual Arts, Fine Arts Institute we think that the role of the artist today extends over the act of creation. We believe that he/she through art can solve problems like helping minority groups to integrate and to be useful participants of the Hungarian society while still maintaining their own identity and culture.
One of our colleagues, the painter Zoltán Ádám, owner of the highly estimated artistic prize in Hungary: the Munkácsy Prize, is working together for more than 10 years with the gipsy communities in Hungary. Since he has been a professor at the Painting Department since 2008 he is urging the fine art students to cooperate with the Rácz Aladár Gipsy Community Centre of Pécs and the gipsy community from Baranya county.
In the last 6 years he organized over 20 solo and group exhibitions in the Gallery of the Rácz Aladár Community Centre, at which around 60-70 students have participated in total. At these exhibitions from time to time the students of the Fine Arts Institute were showing their works together with self-taught gipsy artists like for example the internationally well known gipsy women artist, Mara Oláh.
The director of the Rácz Aladár Centre, Dr. István Kosztics historian, held lectures for the Hungarian students with the title: The history from India through Hungary till the western states gipsy’s culture and Zoltán Ádám on his turn, based on the art collection of the Centre spoke about the beneficial effect of the self trained gipsy painters colour usage on painting in general.
As one of the workshops of the traditional Professional Week organized by the Fine Arts Institute this autumn, the fine arts students had the possibility of meeting with the gipsy inhabitants of Alsószentmárton. The fruit of the meeting and affiliation would be the production of public art works in the village during the next summer.
Our colleague, professor Zoltán Ádám tries to make the art students sensitive to become more acceptant regarding the gipsy minority group in order to make them aware of the fact that art can bring together people in building tomorrow’s society in Hungary.

About Márta Nyilas

In 1994 she graduated from the Academy of Visual Arts Ioan Andreescu, Painting
section, Cluj, Romania.
Between 1996-1999 she attended the DLA painting programme of the University of Pécs, Doctoral School of the Faculty of Music and Visual Arts. She defended her thesis in 2005 and habilitated in 2009.
Since 2006 she has been assistant professor at the University of Pécs, Faculty of Music and Visual Arts, Fine Arts Institute, Painting Department and since 2009 she is supervising the creative and researching work of the DLA students at the Doctoral School of the University of Pécs Faculty of Music and Visual Arts. Also since 2009 she is the organizer of the Professional Week course series during which DLA students, artists and art theoreticians from Hungary and abroad hold workshops and lectures.
She has been active internationally as an exchange professor at the Universitet Palacky, Olomouč, Czech Republic (2007) and at the Universitatea de Artă şi Design Cluj, Romania (2014). Since 2006 she is teaching Contemporary Painting and Artistic Anatomy courses for Erasmus students from: China, Croatia, Czech Republic, Finland, France, Turkey, United Kingdom and USA. Since 2014 she is the master's counsellor of Chinese student Hao Weizhen. In 2014 she participated at the ELIA Biennial Conference in Glasgow, United Kingdom.
Her artistic activity resulted in art works exhibited in 14 solo exhibitions in Hungary, Italy and Romania as well as more then 110 group exhibitions in Argentina, Chile, Croatia, Czech Republic, France, Germany, Hungary, Italy, Slovakia, The Netherlands and USA.
She is the recipient of several smaller art prizes in Hungary and winner of the Events-Relics-Reflexions Prize (2012, Italy) and she was granted several sponsorships in Hungary and Romania and participated at several workshops in Croatia, Hungary, Romania and The Netherlands.

Papageorgiou, Marina

GUILDHALL SCHOOL OF MUSIC AND DRAMA

Abstract - The Rise of the Creative Entrepreneur: enterprise in the performing arts and the role of higher education arts institutions

In the UK, several characteristics of our economy, political outlook, and changes in the creative industries are increasingly emphasising the growing significance of entrepreneurship and the development of small businesses for the performing arts sector. At the start of 2013, within arts and culture 90-94% of businesses were SMEs (BIS, 2013b, p. 10) and just over 4% of private sector businesses were in the arts, entertainment and recreation. In addition, the alternative finance market was predicted to grow to £4.4 billion in the UK in 2015 (Baeck, Collins, & Zhang, 2015), having grown 91% from 2012 to 2013, and in 2011-13 providing £463m for start-ups and SMEs (Collins, Swart, & Zhang, 2013). As Sorrell, Roberts & Henley have suggested the UK needs people who are ‘more inquisitive, persistent, imaginative, disciplined and collaborative – essential qualities for the future. The result will be generations of job-creators, not just job-seekers vital for a world of continuous and rapid change’ (2014, p.69).

In response to the critical issues emerging through this fast-changing professional landscape, the Guildhall School created Guildhall Creative Entrepreneurs: an incubator initiative developed in partnership with social enterprise Cause4, aimed at equipping artists with the skills, resources and mind-set to pioneer innovative work and sustainable business models. Since its launch in 2013, Guildhall Creative Entrepreneurs has been supporting the development of a wide range of innovative enterprises: from orchestras to drumming groups; actors developing corporate training to disruptive opera companies; commercial businesses to social enterprises and charities. The Guildhall School aims to grow Guildhall Creative Entrepreneurs, not just in numbers but also in relevance and necessity; to revolutionise creative entrepreneurship in the performing arts, energise the City’s cultural hub and establish worldwide reach.

Arts institutions have a unique and pivotal role to play in supporting its artists in their ability to adapt to the future challenges that face all of us in a rapidly changing society. In an economic landscape where more artists are working ‘portfolio careers’ the Rise of the Creative Entrepreneur will undoubtedly help drive each of our countries’ economies. Drawing on research findings to date, we will demonstrate that there are important bridges to be built between artistic mind-sets and the fundamentals of sustainable business, and how we are delivering on this. Conservatoire trained performing artists can really lack confidence in their ability to set up a business, and tailored support is much needed in this area.

Bio

Marina is Enterprise Coordinator at the Guildhall School of Music & Drama, where she supports the growth of programmes promoting innovation and entrepreneurship development at the School. She holds degrees in Music and Anthropology and is passionate about engaging with initiatives driving research and innovation on the convergence of the arts, education and the creative economy.

How to create creative learning environments in public education by
the help of art students as creative practitioners?

The Creative Partnerships Hungary programme as a voluntary project has been started in the academic year of 2013/14 by T-Tudok Centre for Knowledge Management and Educational Research Inc, the University of Pécs, Faculty of Music and Visual Art, Department of Art History and Theory and the Creativity Culture and Education foundation, UK. The idea was to find a multiply disadvantaged school, dominated by Roma students and support its teaching and learning processes by inviting university students and artists into classroom settings to work in partnership with teachers. The University was responsible for the selection of art students and artists, and T-Tudok and CCE were responsible for the management and evaluation of the programme. Since 2013/14 two project etaps has taken place, first focusing on various whole-school issues – as behavioural problems, visibility of school processes for the local communities, embeddedness of school, etc, while the second pilot was focusing on teaching Mathematics for 5th graders.
The Creative Partnerships programme has been accompanied by a concise evaluation component, consisting of quantitative and qualitative research parts. According to the qualitative data analysis the success of the Creative Partnerships programme is the result of the deployment of a less directive and controlling pedagogy than is usual in many schools. The programme established a ‘space’ within the school world in which alternative ways of being and relating could be practiced. Socially multiply disadvantaged children appreciated the innovative classroom practice which as McLellan highlights, affords choice, provides opportunities for self-direction, provides feedback which is informing than corrective, enhances intrinsic motivation and promote feelings of autonomy and self-efficacy (McLellan et al., 2012:8).

About Endre Raffay

Endre Raffay, PhD is an art historian, the Head of Department for Art History within the Faculty of Music and Visual Arts and Theory at the University of Pécs. Since 2015 he has been appointed as a leader of Visual Arts Institute. He is an author of several books and has led national and international researches in art history. He takes part in conferences regularly and takes active role in implementation of Creative Partnerships programme within the Faculty, managing the selection process of so called creative practitioners. Since November 2015 by his initiation the Department of Art History and Theory has joined the European Network of Observatories within the field of art education.

About Silvia Németh

The co-author of the presentation is Silvia Németh, an educational researcher, responsible for the administrative leaderships of Creative Partnerships Hungary programme, and responsible for its evaluation and monitoring process. Since 2013 with her team she has collected data on students’ achievement within those public schools where Creative Partnerships programme takes place. She is leading Creative Partnerships’ trainings together with international trainers at the Faculty of Music and Visual Arts, University of Pécs on a regular basis. Besides this programme she is the executive director of T-Tudok Centre for Educational Research and Knowledge Management.

TRANSFER AND CREATIVITY HUBS - How to Make a Living in the Arts with Knowledge Transfer

Georg Russegger
Academy of Fine Arts Viennia, Austria

Entrepreneurs, Innovators and Inventors have always worked in artistic and creative ways. Based on the assumption that artistic freedom and creativity could only co-exist within a critical distance to market driven and commercial realities, the paper reflects on alternative ways to deal with real-life issues such as income, billing, tax, social security, family, retirement, health care a.s.o.
Besides this the storytelling of great artists and creatives just "doing their thing" without taking care of economical and financial issues is not even valid for the small percentage of well known and selling entities in the world. The focus of the paper is given to a greater field of artistic and creative impact and how it is a meaningful and rich resource for contemporary challenges. Artists and creatives as inventors, innovators or entrepreneurs focusing on social issues, gender, diversity, ecology or politics are working in interdisciplinary teams and in heavy cooperation with other experts to reach their goals. New ways of delineation and project-design are based on a Fundamental change through open computer- and network-supported systems such as Open Design, Open Access, Open Science, just to name a few.
It has do be taken into account to increase knowledge transfer and to support team-work of artists and creatives within dissimilar environments and fields, to support them to find their own way in such complex environments. It is not an easy task to address fundamental and clear reflection in our own discipline and organisations. Including the generation of upcoming and future artists and creatives in this development is the duty of art education. Developing contemporary skills and toolkits to "make a living as an artist or creative" without loosing the core functions of artistic
freedom and/or get biased are at stake. The paper is focusing on traceable activities and examples to shape an artistic-creative spirit within this new ways of cooperation and interaction.

About Georg Russegger

Georg Russegger is Head of the Centre for Knowledge Transfer at the Academy of Fine Arts Vienna. He is project manager for the section Social Sciences, Humanities and the Arts (SSHA) of the viennese inter-university project “Wissenstransferzentrum Ost” (www.wtz-ost.at). He received a Ph.D. in Media Anthropology from the University of Applied Arts Vienna in cooperation with the Goethe University Frankfurt a.M and did a Post Doc. at the Tokyo National University of the Arts. He studied Trans-Media Arts, Philosophy and Communication Science in Vienna.
Since years he is active as project developer, curator, consultant and teacher.

Røstad, Merete

The Oslo National Academy of the Arts

Open Space
Wednesday 30 November
Venue: IED
16.00 - 17.30

Abstract - We are the monuments– workshop about forgetting as Art Practice in Public Space

Merete Røstad is a visual artist and an artistic research fellow at the Oslo National Academy of the Arts. Her research project Exercises in Consciousness – re | staging forgetting as Art practice in Public space, investigates collective memory and remembrance through artistic research and practice in the public sphere. As a part of this project she examines how memory and forgetting transform into works of Art. Exploring how the relationship between consciousness and memory is crucial to our sense of self, community and society.
Commemorative art practices have been expanding for centuries and the academic discourse on commemoration has grown immensely in the past twenty years. Many scholars from such a variety of disciplines are joining the “memory boom” mapping a field that has become effectively inaccessible to the public. In response to this Røstad´s artistic research, explores key methods within the field.The PEOPLE’S PALACE is part of the on-going investigation. Røstad engages with
participants from various disciplines in critical reflection on cultural identity and collective memory, around the Folkets hus (people´s palace), a phenomenon within Scandinavian labour discourse. On the topic of remembrance as a form of forgetting Røstad asks for analytical and critical reflection and imagination regarding the past, the present and the very future of
remembrance and forgetting as collective memory. PEOPLE’S PALACE started of by elaborating on
the on-going debate on “performative monuments” and “temporary memorials.” Røstad argues that the discourse is in demand of a renewed historical, theoretical and artistic vocabulary with the aim and function to engage with commemorative methodology as well as the practice and materiality of monuments and memorial´s position in society today. In the city of Lillestrøm, Norway one could find the Folketshus (people´s palace) that in 2015, 100 years after it’s opening, was demolished to give space for a new city development. Throughout its lifetime, the house had been the centre of a number of key events in people's lives. It was a place where human actions, dialogue and solidarity shaped a society and its culture as well as building a political identity.
Witnessing the disappearance of the Folkets hus (people´s palace) in everyday life in Lillestrøm and Scandinavia, Røstad initiated the work PEOPLE'S PALACE as part of her artistic research fellowship at the Oslo National Academy of the Arts.
The central thought behind PEOPLE'S PALACE is the artist's role as one that activates and stages
structures in society by means of thought, action and object. PEOPLE'S PALACE thus investigates Joseph Beuys´ concept of "social sculpture" as a term to illustrate the idea of Art´s position to challenge society. Accordingly, the work is a social sculpture where people met across political and religious afliation, exchanged memories and shared a common history as a central platform for reactivating the idea of Folkets hus (people´s palace).
PEOPLE'S PALACE also is Røstad´s contribution to change the one-sided focus on monuments
and memorials as object that have dominated the media in recent years. She argues that they merely have become symptoms of people's inability and willingness to actively participate in the process of remembrance within their time, weakening the ability to change the history writing from within.
PEOPLE'S PALACE explores and reflects the idea that even small collaborative actions and gestures
can reactivate the forgotten past. How we remember, depends on how we engage with the world
through our experience, our memory and our very presence. The project challenges people from
different communities and the politics of remembrance to build relationships for the construction
of a collective memory. We are the monuments.

BIO

Merete Røstad is a visual artist and curator working with publics, remembrance and archive. Her practice concerns the perception of our everyday exchange and experiences within our surroundings, one aspect of this being how we read the traces left behind. Frequently engaging within public space and communities, Røstad´s process-based practice has developed out of a rigorous interdisciplinary practice in both, her academic and professional, life in Norway and Germany. This has included an on-going commitment to explore the potential of spatial and temporal constructs as a catalyst for engaging with history, identity and memory. Røstad lives and works in Berlin and Oslo and is currently an Artistic Research Fellow at the Oslo National Academy of the Arts.

Windows on Worlds: Artist-teachers Conducting Action Research on Four Continents

Stacey Salazar
Maryland Institute College of Art, United States

Like European art schools, art schools in the US find themselves existing in close connection with global communities, as technological evolution, globalization, shifting economic power, and debate over immigration policy impact countries on both sides of the Atlantic. Simultaneously, art schools face local challenges and opportunities. Action Research, for which “sustained and careful examination of questions concerning teaching and learning … for the purpose of changing and improving student learning” (Pfeiler-Wunder & Jaquith, 2015) is one way to address challenges and opportunities occurring at both global and local levels. When Action Research is embedded in an
online learning platform, artist-teachers from around the globe can engage in Action Research within authentic visual arts contexts.
My presentation reveals how five artist-educators use Action Research methodologies to create ‘windows’ into culturally situated, heterogeneous visual arts classrooms on four continents: Europe, Asia, Africa, and North America. The five artist-educators I will present use research methodologies to reflect on their artistic processes and teaching practices, to attend to changes in their curriculum and pedagogy, and to report on how the artists in their care experience learning. Examples include:Sullee: teaches Korean-speaking young adults in a portfolio preparation program in the US; through innovative dialogue strategies, students made work that was both technically proficient and rich with personal meaning (North America)Siobhan: teaches a in Baltimore City (USA) public elementary school; in response to the Baltimore Uprising of May 2015, she harnessed her art and teaching practices to help her young students process the social upheaval; her project ‘went viral’ through social media, eventually to be taught in communities throughout the US facing similar issues of race and power (North America)Karla: teaches in an international elementary school in Athens, Greece; challenged her multicultural students to collaborate on a site-based installation that prompted reflection on living in a sustainable world (Europe)Vivian: teaches at an all-boys school in Singapore; altered her teacher-directed pedagogy, transforming the way in which her students engaged with artmaking and each another (Asia)Shannon: teaches in a farm school in South Africa; a study of performance-based contemporary art engaged the entire community and led students to reflect on their potential as community leaders (Africa)
Together, these narratives suggest that self-reflection, exploration, and community building are valuable across cultural contexts, and that artists and arts educators, through sharing their stories, have a significant role to play in the creation of tomorrow's society.

About Stacey Salazar

Stacey Salazar is on the faculty of the Maryland Institute College of Art (MICA), where she directs the Master of Arts in Art Education program, a low-residency and online program integrating artmaking, teaching, and research. Stacey has served as a museum educator, a visual arts integration specialist, and for nearly nine years was an art educator and visual arts department chair for a large, suburban public high school near Washington, D.C., where curricular and pedagogical innovations initiated under her leadership led to national and regional recognition for her, her colleagues, and her students. For over 15 years Stacey taught college studio art – primarily foundation painting, drawing, design, and life drawing – at a community college, a large university, a small liberal arts college, and at MICA. Stacey’s research focuses on teaching and learning in college-level studio art, and on developing the artistteacher-researcher. Her research appears in Studies in Art Education, Visual Arts Research, and Art Education Journal; her artwork has been exhibited in the US and Italy. She regularly presents at national art education
conferences, conducts professional development workshops in schools and communities, and serves as a curriculum development consultant. Recently Stacey was an invited speaker at the European League of Institutes of the Arts Teachers’ Academy and the symposium on higher art education at the University of Applied Arts, Vienna.
She holds a Doctorate of Education in Art and Art Education from Columbia University Teachers College, a Master of Arts in Teaching from MICA, an MFA in Painting from Towson University, and a Bachelor of Arts in Fine Art from Randolph-Macon College. Stacey is the recipient of the 2013 MICA Trustee Fellowship for Excellence in Teaching and the 2015 Manuel Barkan Memorial Award, honoring research that deals “carefully and imaginatively with an important issue in art education.”

Schmohl, Maren

Maren Schmohl is currently Vice Rector of Merz Akademie in Stuttgart, Germany, where she is responsible for Quality Assurance (internal QA, external programme accreditations, external institutional accreditations). In the last decade she appeared as an expert in several accreditation procedures bij National Agencies in Lithuania, Estonia, Czech Republic and the Netherlands.

Picture Windows: Visions of Community, Continuum and Change

Ellen Sims
Plymouth College of Art, United Kingdom

This presentation focuses on collaborations that bring the art school and the ‘resilient and connected visual arts ecology’ (1) of artists, art students and communities together for arts-based enquiry. It reviews the place and purpose of the art school as a locus and ‘activator’ of social/public engagement and critically explores the pedagogic practices framing these interactions; questions issues of power and privilege; collaboration and authorship; and measures of success and accountability. The potential impact of these interactions on the wider community and the art school/students will be discussed. The use of narrative as an outcome of participation will be considered in discussion of socially engaged art offering experience versus commodity (2).
Socially engaged practices in the arts, for example in the form of public art, site-specific art and community arts, are well established. However, community activation as an artistic practice is relatively recent, and the impact of socially engaged practice on creative practitioner identity formation has generated new areas of artistic research and practice. Further, social responsibility and public interest are beginning to dominate discourse around the curricula and form policy for higher education in the UK (3). Impact on the art school is for example to collaborate within the
local ‘cultural ecology’ of community arts and social action groups; to offer courses of study in these practices and urses and events open to the community; and embedding experiential learning opportunities in the curricula.
There are a number of ways Plymouth College of Art (PCA) is currently engaging with the community and social action groups. Most notably the staff and students of PCA and Plymouth School of Creative Arts are exploring opportunities to engage across the ‘continuum’. The continuum as a pedagogic model is evolving, however, the impact is clearly experienced by the participants.
In our methodology, the ethos of making, of reflective practice, is at the heart of our… continuum. All education is transformational… the common denominator of all learning is perhaps that it brings about some discernable change or metamorphosis, however small...(4)
This exciting and unsettling ground frames our current position. This presentation reflects on a developing community of creative practice (5). With ‘making’ and experiencing at the core of the joint enterprise, we examine the role of making meaning, making objects, and making change.

Ellen Sims is Head of Learning and Teaching at Plymouth College of Art. Previous roles include Senior Educational Developer at York University, Toronto; Senior Coordinator for the Creative Learning in Practice: Centre for Excellence in Teaching and Learning and Principle Lecturer/Program Director for Academic Practice at the University of the Arts, London. She is an 'activator' for Visual Arts Plymouth and member of Nascent Art/Science Collective and active in local and national arts and social action groups.
Ellen’s professional raison d’etre is creating space for staff to engage in collaborative, reflective and re-invigorated pedagogic practice that effectively integrates creative practice.
She has worked successfully with staff in developing scholarly approaches to creative education and has collaborated on a number of research projects. Current projects involve developing students as partners and collaborators; developing an MA in Creative Education; developing digital capabilities and collaborations within the 'arts ecology' in the UK South West and beyond. She has published widely on pedagogies and on visual communication. Research interests include teaching in the disciplines and interdisciplinarity, socially engaged and transformative learning and inclusive curriculum design.

Over the past fifteen to twenty years we have witnessed Dutch and European higher art education become increasingly more international, a development that is reflecting globalisation in the art world in general. The artists we work with in many of our institutes and (master) programmes come from a diversity of cultural backgrounds, sometimes covering almost all continents.
My doctoral research 'Global Encounters at a Dutch MFA' focuses on the manifestation of cultural differences within and the conditions for an intercultural dialogue about art and artistic concepts within higher art education. The question is whether these cultural differences are made explicit within the dialogues conducted in educational settings and if and how students profit from this diversity in the development of their individual practice.
In higher art education students and tutors exchange views on art and artistic concepts through regular conversations. Verbalizing what they see, experience and think is therefore an important ingredient of all the encounters happening at MFA programs: a Western master program focused on art always requires room for and installs a culture of conversation. But within this conversation, cultural confusion can arise.
A South-Korean student at our institute recently described her experience of how coming from another, non-Western country, being raised in a different art context, confronted her with many underlying concepts in art she did not necessarily share or even could recognize and describe as such: “I was more like an estranged Babylonian that did not understand the exchanged language of ‘ways of seeing’ […] How can I say what I see, what can I see, or more likely what should I see and after all, what do I see? If I cannot say it, don’t I see it?” This experience is not a merely individual one. Hosting a wider range of cultural backgrounds increases the diversity in concepts and constructions that are implicitly underlying the discussions and conversations within the program.
As much as we would like to think that every conversation at an art program leaves room for cultural differences to be made explicit, openly discussed and fruitfully addressed, it might be the case that in the daily educational practice many of them still remain rather under the surface.

About Margo Slomp

Margo Slomp (1968) was educated as a teacher in art and art history at Minerva Art Academy (1986-1991) and as an art historian at the University of Groningen (1991-1994).
Her connection to higher art education started soon after graduating as an art historian. From 1996-2000 she worked as a tutor and coordinator at the (then experimental) second phase program of Painting of Minerva Art Academy. She also worked as a lecturer of Modern and Contemporary Art at the University of Groningen during the late nineties, and again from 2008 to 2013. From 2003 to 2010 she also worked as an independent advisor and author on art.
From 2005 until now she is a core theory tutor (since 2013 University Lecturer) at the Frank Mohr Institute of the Hanze University of Applied Sciences in Groningen, providing individual guidance and research and theory courses for both the MFA Painting department as well as MFA MADtech (Media, Art, Design & Technology).
Since September 2015 Margo Slomp is working on her PhD research 'Global Encounters at a Dutch MFA'. The research focuses on the intercultural dialogue in higher art education.

Mime education in Europe: What´s up today?

We would like to discuss with our colleagues in Europe the actual situation of mime/physical acting education. Do we teach our students to become independent theatremakers or do we emphasize the artistry itself? What is the outcome of our students, how do they enrich the performative art, and what are their challenges?
Together with the seminar we would like to present a masterclass with our professor Stanislaw Brosowski and lecturer Alejandro Bonnet. Brosowski, described below, is still active as a teacher in our school. His and Bonnet's masterclass should present the main principles of SADAs pedagogy, named 'The physically thinking actor'. It would be a pleasure for us to present Brosowski's long-life pedagogy in this event.
The history of mime education in Europe is primarily based upon great creators such as Ètienne Decroux, Henryk Tomaszewski and Marcel Marceau. Also the school of Jacques Lecoq, working with physical acting, has had an enormous impact on european performative art.
Our question for the session on the ELIA conference is not as much about what technique/knowledge we base our instruction on (or how the schools define their work, mime or not) but HOW we teach the diverse techniques and what is our contribution to the modern european theatre. Participants should be all schools that work with mime/ physical acting, no matter how they define their work.

What challenges do our students meet and how do we help them to go out and surprise the world with movementbased theatre?

Besides the discussion on pedagogy, the goal of the session is also to form an international network of schools working in the field, to make exchanges of students and teachers possible. In creating such a net we would all deepen our knowledge and enhance the possibilities of research on the field.

About the Mime Acting Programme of SADA

The mime acting program in Sweden is a Bachelor program founded by Stanislaw Brosowski, originated from Poland and the mime company of Henryk Tomaszewski. Since the start of the program in 1974 Brosowski has developed the ideas and techniques of Tomaszewski, and today the education at SADA is an education with its own history, of which the Polish tradition is but one strain. In focus is the daily physical training and how to visualize and embody thoughts and feelings. Like Tomaszewski SADA's mime acting education banns no stage props, texts or other means of expressions on principal, although the work of the body is essential. The goal is to help the students create their own artistry, to prepare them for a wide range of stages and art forms, be it mime, theater, circus or dance.

Today the education is headed by three people, with Lena Stefenson as senior lecturer in mime acting on top and Brosowski and Alejandro Bonnet as main teachers. Stefenson, senior lecture in mime, was educated by Brosowski in the late 70's and has worked within the field ever since, forming a company and producing festivals and a wide range of shows. Bonnet has toured Sweden with numerous shows, small and large, since he finished the mime acting education, for Brosowski, at Sada in the 90's.

About SADA

The Stockholm Academy of Dramatic Arts (SADA) is Sweden’s largest school of higher education in film, radio, television, theater and other performing arts and is unique with its diversity of programs in these areas, offering bachelors and masters as well as workshops and short programs. Following the Mime acting programs goal of individual artistry's SADA is now running a masters program on directing and choreographing movement based art called “Movit”, which gathers artists from a wide range of fields. Starting from 2014 SADA grow even larger by joining together with the University of Dance and Circus and the University Collage of Opera to form Stockholm University of the Arts. The aim is to collaborate to widen and deepen the research within the field of art.

FAUXTHENTICATION - All the academia’s a stage and academics are merely players...but under whose “command”?

Bogdan Szyber
Stockholm University of the Arts, Sweden

Academia, generally considered as one of the noble fields and its champions motivated by the quest for the pursuit of knowledge, is nevertheless filled with fraud, plagiarism and cheating.
There exists an entire industry that supports academic fraud.
The exchange of money for academic writing is a billion dollar industry which crosses international borders and relies on trade between people who rarely if ever meet.
What one person can do in one lifetime can be multiplied by as many times as the academician’s budget permits by accessing the intellectual capacities of others. They appear on no official payrolls, are not entitled to benefits and their input is not acknowledged. This is capitalism at work and we are witnessing the birth of what Nate Bolt refers to as a ‘new binary proletariat’. This group is so diverse and geographically separate that class-consciousness moves from inevitability to near impossibility.
While academic freelancing generally is without gender restrictions, women tend to be drawn to the field more frequently than men. In many countries there is a distinct lack of regulations to protect the rights of women to earn equivalent salaries to their male counterparts.
These women represent a new generation of ‘computers’ in the original sense of the word. They complete skilled tasks that men would charge significantly more to perform.
Brazilian artist Cildo Meireles saw empty Coca Cola bottles as ingrained in the ideology of the capitalist system within which they were created. He returned them etched with subversive messages thus infiltrating and utilizing the circuitry of that mammoth system for the distribution of his critique of it. My critique of the online academic economy similarly provides a means for these freelance writers’ stories to infiltrate academia itself in a way that utilizes all of the legitimate channels of research.
My fellow artistic researchers become the audience for whom I perform. I engage in various expected actions such as the production of ‘art’, appearing at relevant conferences and the publishing of texts. On the stage of Higher Education I am supported by a cast of freelancing female writers sourced online from developing countries. Through my interaction with them I see the industry from their perspective, which I can reference in the formulation of my own views

About Bogdan Szyber

Bogdan Szyber is a PhD candidate in performing arts at Stockholm University of the Arts. With over 35 years of practice in his field he currently probes the maladies of the worldwide Higher Education Industry. With a background in performance and site-specific art, his work spans from large commissioned out-door festival spectacles to reading poetry on behalf of farm animals in the Swedish countryside. Pointe shoe ballet for the Royal Opera ballet accompanied by live death-metal music, daily urban rituals with thousands of participants throughout Sweden, English teenagers pickled in the jelly, spitting mannequins at the exclusive Stockholm NK department store, audio voyages at sightseeing boats on the river Thames, opera productions at NorrlandsOperan, Folkoperan and The Gothenburg Opera; staging of plays for instance at The Royal Dramatic Theatre.

The educational innovation in music and social fallout

- The sense of learning music
- Practicing an instrument: skills and dedication
- Concentration, listening to others and to ourselves: new border of didactic
- Creativity and recreation
- Same opportunities to develop different skills
- Mozart, Beethoven and a new citizenship

About Luciano Tristaino

Luciano Tristaino studied in Italy (Perugia, Conservatorio “F.Morlacchi”,1981-1988), Switzerland (Conservatorio di Lugano,1992-93) with Mario Ancillotti and in Holland (Den Haag, Koninklijk Conservatorium,1994-96) with Rien de Reede.
He has performed with the Orchestra Giovanile Italiana, and he was a finalist at the audition by the Karajan Academy for the Berlin Philharmonic Orchestra in 1994.
Apart from a busy concert schedule in Italy, Tristaino has also made regular appearances in Switzerland, Germany, Holland, Romania, Hungary, Australia, Sweden and the United States, both as a soloist and chamber performer. He has worked with a diverse range of musicians such as Ancillotti, Berio, Chiarappa, Dantone, Fedi, Schaap, Vismara.
He has made recordings for RAI, ABC (Australia), Bayerischer Rundfunk, RTSO, Koch-Schwan and Arts. His interest in contemporary music has led to collaborations with composers such as Visser, Stockmeier, Reiner, Saunders, Hazeldine, Colombo-Taccani, Nicoli, Bellotti and Anichini (Concert for flute and orchestra). Tristaino is currently engaged with the Ensemble Nuovo Contrappunto, having recently worked with such renown figures as Ivan Fedele, Luca Lombardi, Azio Corghi, Fabio Vacchi, Marco Stroppa, Giacomo Manzoni, Luciano Berio, but also exponents of the younger generation of composers, Roberta Vacca, Massimo Lauricella, Giovanni Sollima to name but a few.
In 2014 he has been invited to a recital at NFA in Chicago, where he also was member of jury of the "Young Artist Competition". In 2015 the Société de Musique Contemporaine of Lausanne (Switzerland) invited him for a production of "El Cimarron" of H.W. Henze. He has recorded CDs with music by Petrassi and Sciarrino, as well as a recent double-CD with eleven first performances (Ars Publica). Tristaino taught at the Conservatories at Cagliari, Cosenza, Rovigo and Trento.
Luciano has been invited to hold a masterclass at the Monash University of Melbourne, Australia, as well as professor in residence at the Hobart University (Tasmania). He is currently Professor of flute at the Conservatory "Rinaldo Franci" of Siena.

Beyond Social

Art academies situated in larger cities face the challenge of how to engage with the rapidly changing complexities within any urban environment. Often students are encouraged to showcase work, produce community driven projects, and respond to their surroundings. But what kind of toolkit or set of skills do students actually need to work within an urban context, how can a curriculum be designed to support such endeavours, what are possible best practices and approaches, and how can partnerships be enriched and strengthened beyond a project basis?
This presentation will explore these issues through a series of brief project presentations of Beyond Social, an ongoing research line within the curriculum of the Willem de Kooning Academy. Beyond Social offers a platform for challenging and engaging design and art practices that have a desire to have a transformative impact on society. Accordingly, these practices do not only focus on the development of 'good' pieces of art or design, but they also propose or realise alternative systems, procedures and processes.

About Willem de Kooning Academy

The Willem de Kooning Academy offers contemporary and cutting edge art courses that complement changing, international practice. The outside world is no longer looking for the autonomous artist or graphic designer, but rather for people who possess a multitude of talents and skills and who look beyond the borders of their original discipline.

Mirror salon: Decision Time

Kai van Hasselt
Independent Advisor NOHA in partnership with Fontys School of the Performing and Fine Arts
The Netherlands

Open Space
Wednesday 30 November
Venue: IED
Time: 14.00-15.30

Abstract

The Mirror Salon is a format for group discussion and reflection. It was initially for the The Amsterdam Foundation for the Arts (AFK) and the European Cultural Foundation (ECF) developed by Kai van Hasselt to facilitate a discussion between grant makers, creative producers and other stakeholders about the future of funding of cultural production in cities. In later stages its form evolved, but its goals remained the same; to facilitate a rapid and spontaneous exchange of views and practises between diverse participants.
It is a rich format that enables participants to discuss different topics with each other during a session. Participants work in different groups according to a pre-determined scheme. During the sessions they write down their individual and collective questions and remarks. (Think of a creative dinner at a Chinese restaurant where you doodle and write your thoughts down on the table cloth.) For each Mirror Salon we have collaborated with a cutting edge graphic designer to capture and share the ideas and prototypes that were developed. During the workshop we make
use of the tools from the design thinking methodology.
I would propose to use the Mirror Salon either as
A) A way to reflect at the end of the conference to reflect on the passed lectures and days, and see what you take into the future.
or
B) to focus on the topic of ‘decision time’- What happens when you make artistic, design or educational decisions in your work? During the workshops each participant will in small groups look at how decisions are taken. What happens at that very moment? What can you learn from it and from the context that influences it? How can this contribute to the conference’s theme turning mirrors into windows?
In the past (November 2014 fro AFK/ World culture cities summit in Amsterdam and at the FHK Dance ISP week, October 20115) in collaboration with different graphic designers I have created printed booklets within hours of the workshop. Under the right conditions we could create something similar for Florence.

About Kai van Hasselt

Kai van Hasselt (1981) works as an associate lecturer and in-house consultant on Design thinking at the Fontys School of Fine and Performing Arts in Tilburg since September 2014. He researches the role of design thinking within arts education and its relation to learning, research and interdisciplinary practices inside and outside the school. Design Thinking is a toolset and mindset. It is a methodology based on the design process applied at non-design challenges within society. Each phase of the design thinking process helps practitioners and educators to formulate better solutions for specific audiences.
Next to his work at the academy, Kai directs Shinsekai Analysis, a creative strategy practice for urban strategies and cultural intelligence. The company works at the cross roads of urban development, societal trends and contemporary culture and art. It advises companies, municipalities, government agencies and cultural institutions.

Turn mirrors into windows - Our stories and the other stories.

Predrag Velinovic
University of Arts Belgrade, Serbia

Abstract

Quite often, as examination task, direction students tend to make films inspired by their surroundings, by their own lives.
In my opinion, many of those films look alike; they are clearly made by young people, much too young and much too insecure. Many of those films are gloomy, grim and depressive.
Things have however changed, as of recently. Already interested in immediate reality, this reality has now become faster than their thinking. Someone else’s anguish and pain has outgrown their own. It is stronger, more tangible, more conspicuous.
And students are now in pursuit of these topics. They have become active, interested, socially awakened; they follow social developments with interest and form their own opinion. It is as though migrants have accelerated our social lives and the way we think about the world we live in. They prompted us to tackle this world.
During his initial three years at college, a student of mine, Marko Grba Sing, burdened by an unusual Indian heritage, was uncertain about the kind of stories that interest him, always picking topics that lack precision. And then, during his third year, he started working on the subject of refugees while they were still sporadically hiding in country houses around Vojvodina, on their way to Europe, before their mass exodus. He’s been working on the same topic and on the same film continuously for three years. The film is sometimes shorter, sometimes longer; on various occasions, it was his examination film, in different versions and with various contents. Abdel and Hamza were later replaced by other characters, but these miserable lives made students understand, metaphorically, how the destiny of others can become their own, creating necessary empathy and compassion as core values of a sound society.
Relating personal destiny to the universal, humane one, reached its cinematic finale at the Student Festival in Munich. Marko and Hamza nodded together to the public on that occasion. Marko came from Serbia as festival guest, while Hamza was brought from a refugee camp near Munich for the occasion, their lives on film and their real lives meeting at a single point. And I, as his professor – I am now also mentor to Marko as postgraduate – observed it all from the sidelines. It made me think about the lesson I have been trying to learn all my life: When and where do the stories that we live connect with other stories, becoming a strong magnet for other viewers.

About Predrag Velinovic

Born on 24 January, 1966 in Novi Pazar, Serbia . He graduated in the film and television directing at the Belgrade Faculty of Drama Arts in 1991.
He first presented his work to the public with a thirty-minutes film story called (Amsterdam) within a film omnibus called (What are you doing tonight) at the Pula Film Festival in 1988.
He has directed over a hundred television shows and commercials. Among his numerous works are the programs such as: "On Friday at 10 P.M."; "ALISA - The European Cultural Magazine"; "The Cult"; as well as the three television dramas
His documentary programs "The Heat of devil: Bukowski in Belgrade" and "The secret of celuloid" participated in the official program of the Prix Europe , Festival held in Berlin; at the Prix Italia and at other local and foreign television festivals.
He directed his first full-length film "Shadows of memories" ( "Senke uspomena"), in the year of 2000/2001.
His second full-length film "I think the world of you" , had Belgrade premiere in march of 2003.
Again started and lead project of the Summer Film School (ESFS) www.fduesfs.edu.rs which was realized as the exchange of knowledge, experience and talent of the film, where 12 selected, the most talented students of film and television directing from Europe spend two weeks in Belgrade, and film directing profession learn from the famous director, and working with his patronage, his short films
His third full-length film Motel Nana had Belgrade premiere in february of 2011.
Now, he is shooting his film “Nowhere”, which will be finished untill the end of 2016.
He currently works as a professor at the Belgrade Faculty of Drama Arts - The Department for the Film and Television Directing.

Vicario Merino, José Luis

Abstract

The 90's digital revolution has changed the way we interact and how we have access to the world. The immediacy and the amount of information we receive everyday has built a world where everything digital has been constituted as a comunitary space which is determinant to our daily behaviour. We outline that maybe the key to end a unique thinking, typical of a mass media culture would be to enrich those new logics of the digital field with experiences different to the ordinary, an experience in which the individuals can free themselves from the determining levels set by the media to generate a new space for thought, not necessarily a digital one, in which artistic practice has a relevant role.
We present as a case study inside the frame of the exhibition El arte y su doble (Madrid, 1987) curated by Dan Cameron where we can analyze some of the pre-digital problems of renowned artists such as Jeff Koons, Barbara Kruger, Cindy Sherman, among others, under the curator's work, which influence in a great way the different current artistic languages. The consequences of that exhibition in a pre-digital world and how it set the conceptual basis of some of the current artistic languages will be analyzed.

Bio

José Luis Vicario Merino, Spain, 1972. Contracted Lecturer holder of a PhD for the Sculpture Department at the University of Granada. Sculptor: http://www.joseluisvicario.com/

Exclusion intrinsic to art? The interweaving of social inequality categories structuring the field of higher art education

Sophie Voegele
Zurich University of the Arts

This contribution looks into how inequality spells out within art schools and addresses institutionalized proceedings of discriminating processes and practices. Indeed, described as a “preserve of the privileged” (Malik Okon 2005) in international research, a complex and differentiated picture of inclusivity and exclusivity can be found in tertiary art education. A thorough investigation of selection during the admission processes into art schools led by ourselves and our team dismantles a set of inherent processes of in- and exclusion as well as simultaneous contradictions that allow investigating and delineating a specific form of institutional discrimination at work in Swiss art schools. We especially could consider the occurring field of tension regarding the representation of domestic (ethnic) minority groups within the school compared to the whole of Swiss society. Thereby it becomes clear that the selection process is closely related to self-understandings intrinsic to art education institutions and that the selection process actually reveals an ultimate re-instatement of a normative – and discriminatory – thinking from a Eurocentric point of view.
Our theoretical grounding is feminist- and postcolonial theory complemented through qualitative sociological education and inequality research. For our data and analysis we rely on the research of Art.School.Differences (http://blog.zhdk.ch/artschooldifferences/), a cooperation project between three Swiss art schools with a transdisciplinary approach composed of ethnographic observation, interviews and curriculum analysis as well as integrated participatory research and a mandate for institutional development. The basis of our analysis is strategies brought forward by art school candidates and students dealing with the process of selection throughout art education. The analysis of this very intricate process, which also incorporates the performative dimension and multifaceted embodiment of habitus, enables us to assess complicated and fragile processes of racism, sexism, classism and ableism at work and to analyze specific mechanisms of (colonial) Othering that not only impact the education but the subsequent professional realm as well.
Thus, the aim of our paper is twofold: a) the dynamics of maintenance, perpetuation and continued re-instatement of inequality within institutional structures and the power of normativity is elaborated b) alongside the questioning of and potential transformative intervention into these structures.

About Sophie Voegele

Anthropologist and Gender Studies scholar with outstanding credentials from the University of Basel, Sophie Voegele is pursuing a PhD degree in sociology from the York University in Toronto on social inequality, processes of Othering and theories of critique. Her research is grounded in the field of Higher Art Education and investigates the Swiss perspective from a feminist and postcolonial stance. She also is a member of the interdisciplinary doctoral program ‘Migration and Postcoloniality Meet Switzerland’ at the University of Fribourg which explicitly focuses these
perspectives. Currently, she holds the co-directorship of the research project ‘Art.School.Differences.Researching Inequalities and Normativities in Higher Art Education’ with Philippe Saner. She moreover has fieldwork experience in asylum seeking processes in Switzerland and, earlier, did fieldwork in Rajasthan, India where she worked on processes of decentralization and women's rights which resulted in the following publications: "Gender, caste and social change: Effects of the reservation for Elected Women Representatives in rural Rajasthan" 2013 with Book Bazar, as well as "Adopting Western Approaches: The 'Millennium Development Goal' (MDG3) and Implications of 'Orientalism'" 2012 in co-authorship with Kamal Arora with Indian Publishers Distributors. In co-authorship with Karin Hostettler she among others has published the essay “Gender and Sexuality as Place/s of Imperial Thinking.
Approximations from a (post-)colonial theory’s perspective” 2015 in the anthology Place/s of Thinking. On the Claim to Inter-›Cultural‹ Philosophy with Verlag Alber. A first publication about Art.School.Differences with Philippe Saner is entitled “Eine kunstimmanente Exklusion? Verwobenheiten von Geschlecht und Migration mit sozialer Klasse als Strukturierung des Kunsthochschulfeldes” and is forthcoming in the anthology Gender und Migration in der tertiären Berufs- und Hochschulbildung with Verlag Westfälisches Dampfboot.

Figural Theatre of the Mediterranean: a ‘Liquid Border’ of Imagination, Memory, and Hope

Melanie Zefferino
Florence Biennale / Churchill British Centre, Italy

‘Most people are mirrors, reflecting the moods and emotions of the times. Few are windows, bringing light to bear on the dark corners where troubles fester’, wrote Sydney J. Harris. Amongst those ‘few’, I believe, mention should be made of the wandering storytellers and puppet players who have reached different audiences across the Mediterranean over many centuries. They achieved such a goal not only by creatively exploiting a combination of verbal, gestural, and visual sign systems (eventually with music), but also bringing in the allure of distant cultures while breaking boundaries of space and time in their representations. Today the Berber imayazen entertain the audiences of Morocco as the Arabian halaquis did in medieval times, when knowledge from the Middle East reached Europe through Sicily. In that island, which is still a portal between East and West, the Cuntu storytelling and its figural variant, the Opra dei pupi, originated. The latter was inscribed in the list of intangible cultural heritage of humanity by the UNESCO in 2001, although the official proclamation occurred in 2014 at the Antonio Pasqualino Museum in Palermo.
The aim of this paper is to analyse the semiotic systems of the Opra dei pupi and also its aesthetics and narratives to better understand its artistic value and potential in arts education. Aspects of identity, gender, and otherness will also be brought to the fore. It should be noted, for instance, that the Paladins-Saracens binary opposite is rendered featuring with equal dignity the protagonists of a never ending fight that historically was a civilisation war. Besides,Angelica, Princess of Cathay, is a charming personification of Asian ethnicity. Finally, an insight into contexts of informal learning that promote the study, research and practice of the Opra dei pupi will be offered, first and foremost looking at Mimmo Cuticchio’s school for pupari and cuntisti, which welcomes artists from around the world to foster contemporary interpretation.
By shaping a knowledge of the Opra dei pupi with an inclusive approach, realities of education and artistic talent development can create fictive and true horizons for the coexistence of contrasting identities and distant cultures. Indeed, the Opra dei pupi can be regarded as a ‘magic mirror’ shifting perspectives and shattering prejudice, thus turning into the vision of a world imbued with history, myth, and imagery that may bring a peaceful aftermath to times of trouble.

About Melanie Zefferino

Curatorial and International Relations Advisor of the Florence Biennale, Melanie Zefferino is an art and theatre historian with an interdisciplinary background in the visual and performing arts.
After graduating in Fine Arts and Conservation at the Accademia Albertina in Torino, where she achieved professional qualification at the State Archives, she obtained her MA Degree in Museum Studies at the University of Leicester, and her PhD in History of Art (with Theatre Studies) at the University of Warwick. For her doctoral research on figural theatre in the Venetian Republic she received grants from the Gladys Krieble Delmas Foundation and other American institutions.
For work and study she has travelled extensively in Europe, the Americas, India, and China. She served her Arts Council of her home town as member of the board of the institution managing the civic theatre and school of music,and covered managerial positions. As an independent scholar and curator she has worked with art galleries,museums, historic manufactures and auction houses, and is the keeper of a princely collection of artworks.
She has teaching experience with BA and MA Students from the University of Warwick, and currently teaches at the Churchill British Centre in Torino.
As a speaker she has attended prestigious conferences in Italy, Britain, and the United States. She has published the history of the Castle of Uzzano at Greve in Chianti as well as edited volumes, essays, and articles in peerreviewed
magazines.

Accommodation

ELIA has arranged two hotel portals for special rates to a varied selection of hotels within walking distance of the conference venues, to offer you the best range in budgets and tastes. You can book via either the Viva Firenze Portal or the Firenze Convention Bureau Portal. Both portals have undersigned an agreement to donate a percentage of the booking fee to a restoration project in Florence’s city centre: the Medici Coat of Arms of Palagio di Parte Guelfa. So by booking your hotel via one of these portals, you not only receive a special rate, but you will also be contributing to the restauration of Florentine heritage without any additional costs.

Viva Firenze Portal

For booking, please go to the Viva Firenze Portal. Enter the booking code ELIA16 on the landing page to get access to the special rates:

Firenze Convention Bureau Portal

Palagio di Parte Guelfa is a historical building in central Florence. During the Middle Ages, it was the headquarters of the Guelph party (Parte Guelfa). Construction began on the building in the early 14th century and in the 16th century Giorgio Vasari added a coffered ceiling and a new staircase. In 1921, the whole complex underwent an extensive renovation in neo-medieval style. Remaining artworks include a lunette by Luca della Robbia (above the façade portal), a small loggia by Vasari and a Medici coat of arms sculpted by Giambologna. The Medici coat of arms will be restored thanks to ELIA conference delegates. Using the hotel booking portals on the ELIA website, a percentage of the booking fee will go towards funding the project.
Both portals have undersigned an agreement to donate a percentage of the booking fee to a restoration project in Florence’s city centre. The proceeds will fund the restoration of a polychrome Medici coat of arms sculpted in pietra serena by the eighteen-year-old Giambologna. The coat of arms is on the balcony of the Palagio di Parte Guelfa, the headquarters of the Guelph Party in the Middle Ages.

Venues

MAIN VENUE: Palazzo Dei Congressi- Villa Vittoria
Thursday 1 December, Friday 2 December
Piazza Adua, 1https://goo.gl/maps/2X83HePqZRt
The main venue of the conference is Palazzo dei Congressi- Villa Vittoria. It is located right in the city centre and just a 2 minutes walk form the Santa Maria Novella Central Station. At this location the conference programme on Thursday 1 December and Friday 2 December will take place. Delegates can register and collect their conference materials at Palazzo dei Congressi- Villa Vittoria both days from 08.30 hrs onwards.

IED – European Institute for Design
Wednesday 30 November- Open Space
Via Maurizio Bufalini, 6/Rhttps://goo.gl/maps/cyZA3Lp3Qi52
The venue for Wednesday 30 November is IED- European Institute of Design. At this location the Open Space will take place. Delegates attending this part of the programme can already register for the full conference here from 13.00 hrs onwards.

Palazzo Vecchio
Thursday 1 December- Civic Reception
Piazza della Signoriahttps://goo.gl/maps/3cxLyR7WGRD2
The Civic Reception incl. a buffet dinner will take place in Salone dei Cinquecento of the Palazzo Vecchio. A truly unique opportunity to experience this world-renowned artifact, as it will be open to ELIA conference delegates only.

Palazzo Strozzi
Friday 2 December- Closing Party
Piazza degli Strozzihttps://goo.gl/maps/RND2Js24zJA2
The Closing Party will take place in Palazzo Strozzi: a great example of civil architecture in the Renaissance. Today the palace is used for all kinds of cultural exhibitions and events. Tickets for the Closing Party can be purchased during online registration or at the door from 21.30 hrs onwards.

Travel

The most convenient way to get around in Florence is by foot. Each conference venue is located in the city centre, within 15 minutes or less walk from each other.

BY PLANE
You can fly to/from Florence Airport directly. Alternatively you can fly to/from Pisa Airport, Bologna Airport or Rome Ciampino or Fiumicino Airport and take a taxi, shuttle bus or train to the city centre (see below).

From Florence Airport we recommend to take a taxi to your destination in the city centre. From all other destinations please take a shuttle or train to the Santa Maria Novella Central Station in Florence. From here it is just a 2 minute walk to the main venue Palazzo dei Congressi- Villa Vittoria or a 15 minutes or less walk to other destinations within Florence.

TAXI
Fixed fares from/to Florence Airport: 22€ (24€ public holidays; 25.30€ night- me 22.00 - 06.00 hrs.)
Journey time: about 15 minutes. You can find easily the taxi platform at the airport: when you exit the arrival hall, go to your right and follow the signs.

For taxi services within Florence please order at the desk of your hotel or call:
Taxi Firenze 4242 - Tel. +39 055 4242
Taxi Firenze 4390 - Tel. +39 055 43 90
On average the taxi will arrive 5-10 minutes after being ordered.